28/8/2023--22/9/2023 (Week1--Week4)
LIU JUNXUAN/ID NO. 0358508
Advanced Typography/Bachelor of Design (Honours) in Creative Media
Task 1/Exercises
INSTRUCTION
Lecture
“All design is based on a structural system” and according to Elam.2007. there are eight major variations with an infinite number of permutations. These eight major variations are as follows:
Axial
Radial
Dilational
Random
Grid
Modular
Transitional
Bilateral
Axial
1.1
Axial is where all the elements are on the left or right side of the axis. The axis may not be straight.
Radial
1.2
All elements extend from one focal point and then unfold according to a specific focal point.
Dilational
1.3
All elements expand in a circular manner from a central point.
Random
1.4
A random arrangement of all the elements.
Grid
1.5
Modular
1.6
Transitional
1.7
Bilateral
1.8
It is often used in invitation letters.
2.1
Principles of Design Composition
When we think about composition, we think about the dominant principles underpinning design composition, which are emphasis. Isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few.
However, these abstract notions seem ambiguous when it comes to translating it into typographic layouts or composition. They seem more relevant to imagery than complex units of information that consist different elements.
The ideas mentioned above and the application of these ideas into real-life content (images, textual information and color) on a page or screen can sometimes feel disparate. That said. Some of these principles are a little more easily translatable than the others.
2.2
2.3
The Rule of Thirds
The Rule of Thirds is a photographic guide to composition, it basically suggests that a frame (space) can be divided into 3 columns and 3rows. The intersecting lines are used as guide to place the points of interest, within the given space.
2.4
Typographic Systems
These 8 systems we have covered in depth in theory and practical. From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster Systeme), which is derived from theorized compositional structure of Letter Press printing.
lt was further enhanced by what is now come to be termed as the Swiss (Modernist) style of Typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill and such.
2.5
Other models / Systems
Environmental Grid
This system is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight are formed. The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.
Form and Movement
This system is based on the exploration of an existing Grid Systems. Developed this system to get students 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. Whether the page is paper, or screen is irrelevant.
Handwriting
3.1
We study handwriting because the first mechanically producedletterforms were designed to directly imitate handwriting. Handwritingwould become the basis or standard for form, spacing andconventions mechanical type would try and mimic.
The shape and line of hand drawn letterforms are influenced by thetools and materials used to make them. Sharpened bones, charcoasticks, plant stems, brushes, feather and steel pens all contributed tothe unique characteristics of the letterform.
Additional factors included the material upon which the forms were written clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
3.2 CuneiformC.3000 B.C.E
3.3 Hieroglyphics2613-2160 B.C.E
The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters--the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways:
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding is meant as phonograms and to indicate the general idea of the word.
3. As phonograms to represent sounds that "spell out" individual words.
3.4 Early Greek / 5th C.B.C.E
3.5 Roman Uncials
3.6 English Half Uncials, 8th C
3.7 Black Letter12-15 C. CE
Gothic was the culminating artistic expression of the Middle Ages, occurring roughly from 1200-1500.The term Gothic originated with thallations who used it to refer torude or barbaric cultures north of the Italian Alps.
3.9 Chinese printing
Type printing is an ancient printing method, which was invented by the ancient Chinese people of labor, which was invented by long-term practice and research, and this invention became the last great technological revolution in the history of printing. The clay type invented in the northern song festival in the northern song dynasty (1041 -1041), which was invented in China, was the first inventor of the world, about 400 years earlier than the German John neth Gutenberg type printing. Wang zhen, the yuan dynasty, succeeded in making wood and invented the typo. In the middle of the Ming dynasty, copper characters were used more in jiangsu, nanjing, wuxi and suzhou.
type design carries a social responsibility so one must continue toimprove its legibility.
type design is a form of artistic expression.
“Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. His valued contribution to typography includes the typefaces; Univers and Frutiger.
Let us look at the typeface Frutiger, his name sake. Frutiger is a sansserif typeface designed by the Swiss type designer Adrian Frutiger in1968 specifically for the newly built Charles de Gaulle International Airport in France. A more detailed history can be found here.
Purpose: "The goal of this new typeface was create a clean, distinctive and legible typeface that is easy to see from both close upand far away. Extremely functional."
Considerations/Limitations: letterforms neded to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.
Matthew Carter is the son of Harry Carter, Roval Designer for Industry. contemporary British type designer and ultimate craftsman. Carter trained as a punchcutter at Enschede by Paul Radisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981.
Many of Carter's fonts were created to address specific technicalchallenges, for example those posed by early computers... Let us lookat Verdana (1996) for Microsoft
Purpose: the font was tuned to be extremely legible even at very smallsizes on the screen due in part to the popularity of the internet andelectronic devices
Considerations/limitations: The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.
Off screen, Georgia and Verdana have also made appearances inprint. In 2010 there was a lot of "fontroversy” when it was announced that IKEA would be changing from Futura to Verdana.
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 inhonour of the company's 100thanniversary. was Bell Centennial!
Edward Johnston is the creator of the hugely influential London“Underground”typeface, which would later come to be knows asJohnston Sans”(1916)
He was asked to create a typeface with “bold simplicity” that was trulymodern yet rooted in tradition. Johnston's design, completed in 1916.combined classical Roman proportions with humanist warmth.
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.
REFLECTIONS
Week1:
4.1 Axial
4.2 Axial
Week2:
5.1 Axial (9/9/2023)
5.2 Axial (9/9/2023)
5.3 Radial (9/9/2023)
5.4 Radial (9/9/2023)
5.5 Dilational (9/9/2023)
5.6 Dilational (9/9/2023)
5.7 Random (9/9/2023)
5.8 Random (9/9/2023)
5.9 Modular (9/9/2023)
5.10 Modular (9/9/2023)
5.11 Transitional (9/9/2023)
5.12 Transitional (9/9/2023)
5.13 Bilatera (9/9/2023)
5.14 Bilatera (9/9/2023)
Week3:
6.1 Word （12/9/2023）
6.2 poster（15/9/2023）
6.3 final poster (17/9/2023）
7.2 competition (6/10/2023)
Week2:
General Feedback: I need to use the margins and columns in InDesign software to adjust the Grid and Modular to make them tidier. Make sure the text in the picture is easy to read. Axial layout needs to be on one axis rather than separate.
Week3:
General Feedback: The selected graph needs to be a part of an
object, it needs to be something real, not a game or an imaginary thing, and it
needs to be studied.
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