The typographic organization is a complex process that involves many factors, such as communication, hierarchy, order of reading, legibility, and contrast.
Typographic systems are similar to architectural shape grammars in that they both have a set of rules that provide a sense of purpose and focus for decision-making.
These eight variations are:
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| Fig. 1.1 Axial system |
Axial systems are based on a central axis, with elements arranged symmetrically around it. This can create a sense of order, balance, and stability.
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| Fig. 1.2 Radial system |
Radial
Radial systems are based on a central point, with elements arranged in a radiating pattern. This can create a sense of movement, energy, and excitement.
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| Fig. 1.3 Dilatational system |
Dilatational
Dilatational systems are based on a central point, with elements expanding outward from it. This can create a sense of growth, expansion, and dynamism.
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| Fig. 1.4 Random system |
Random
Random systems are based on a lack of order or pattern. This can create a sense of surprise, excitement, and energy.
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| Fig. 1.5 Grid system |
Grid
Grid systems are based on a regular pattern of horizontal and vertical lines. This can create a sense of order, structure, and rhythm.
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| Fig. 1.6 Modular system |
Modular
Modular systems are based on a repeating unit or module. This can create a sense of order, rhythm, and unity.
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| Fig. 1.7 Transitional system |
Transitional
Transitional systems combine elements from two or more other systems. This can create a sense of dynamism, complexity, and interest.
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| Fig. 1.8 Bilateral system |
Bilateral
Bilateral systems are based on a central axis, with elements arranged symmetrically on either side of it. This can create a sense of balance, order, and stability.
The principles of design composition can be applied to typography to create more effective and visually appealing typographic layouts. Some of the most important principles include emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective. By understanding these principles and applying them to their work, designers can create typographic layouts that are both clear and engaging.
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| Fig. 2.1 Principles of Design Composition |
Principles of Design Composition are the rules that govern how elements are arranged in a design. They include emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective.
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| Fig. 2.2 The Rule of Thirds |
The Rule of Thirds is a composition guideline that divides a design into thirds, both horizontally and vertically. This creates nine equal parts, and designers can then place important elements at the intersections of these lines to create a more balanced and visually appealing design.
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| Fig. 2.3 Environment Grid |
Environmental Grid is a system of lines and columns that can be used to organize and structure a design. This can help to create a sense of order and rhythm in a design, and it can also make it easier for viewers to scan and understand the information.
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| Fig. 2.4 Form and Movement |
Form and Movement are two concepts that relate to the way that text is arranged on a page. Form refers to the overall shape of the text, while movement refers to the way that the eye is drawn through the text.
Week 3 - Lecture 3
Advanced Typography: Context and Creativity
Handwriting is crucial in typography as it inspired the first mechanically produced letterforms, mimicking its style. Hand-drawn letter shapes and lines are influenced by tools, materials, and writing surfaces.
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| Fig. 3.1 Cuneiform c. 3000 B.C.E |
Cuneiform c. 3000 B.C.E
Cuneiform, invented by the Sumerians in Mesopotamia around the 4th millennium B.C.E., is the oldest known writing system. It utilized clay tablets and a reed stylus. Cuneiform recorded diverse information, from administration and law to religion and literature. It remained prominent for over 3,000 years, making it a crucial ancient writing system.
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| Fig. 3.2 Egyptian Hieroglyphs |
Egyptian Hieroglyphs
Egyptian hieroglyphics, a writing system intertwined with relief carving, combined rebuses and phonetic characters. Hieroglyphic images served three purposes: as ideograms representing actual objects, as determinatives indicating the general idea of a word, and as phonograms spelling out individual words. This system laid the foundation for future alphabetic systems.
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| Fig. 3.3 Early Greek |
Early Greek handwriting, dating back to the 5th century B.C.E., refers to the writing styles employed by ancient Greeks.
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| Fig. 3.4 Roman Uncials |
Roman Uncials were a type of rounded handwriting used in ancient Rome, characterized by their distinct letterforms.
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| Fig. 3.5 English Half Uncials |
English Half Uncials, developed in the 8th century, was a variation of the Roman Uncial script used in England.
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| Fig. 3.6 Carolingian Minuscule |
Carolingian Minuscule was a handwriting style introduced by Charlemagne in the 9th century, characterized by clear and uniform letterforms.
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| Fig. 3.7 Black Letter |
Black Letter, also known as Gothic script, was a popular handwriting style from the 12th to the 15th centuries. It featured dense and angular letterforms.
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| Fig. 3.8 The Italian Renaissance |
The Italian Renaissance marked a period of artistic and cultural rebirth in Italy from the 14th to the 16th centuries. In this period, there were various handwriting styles influenced by humanist ideals, emphasizing legibility and elegance.
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| Fig. 3.9 The Indus Valley Civilization (IVC) |
The Indus Valley Civilization (IVC), dating back to 3500-2000 BCE, had a script that remains undeciphered. The script appears to be logo-syllabic, combining symbols that may have represented both sounds and concepts. There are differing opinions on whether the symbols are non-linguistic or represent a Dravidian language.
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| Fig. 3.10 The Brahmi Script |
The Brahmi Script, dating from 450-350 BCE, is the earliest writing system developed in India after the Indus script. It has had a profound influence, serving as the basis for modern Indian scripts and numerous scripts in Southeast and East Asia. The origin of Brahmi is a matter of debate, with some scholars suggesting its derivation or influence from Semitic scripts, while others propose an indigenous origin or connection to the ancient, undeciphered Indus script of the Indus Valley Civilisation.
Week 4 - Lecture 4
Advanced Typography: Designing Type
Type Design Process
Research
Understand type history, anatomy, conventions, and terminologies.
Determine the intended purpose and specific applications of the typeface.
Consider usage scenarios such as school buses or airport signage.
Examine existing fonts for inspiration, ideas, and usage patterns.
Sketching
Traditional Tool Set Method:
Designers use brushes, pens, ink, and paper to sketch typefaces.
Sketches are scanned for digitization.
Provides better control and confidence with hand movements.
Digital Tool Set Method:
Designers use digital tools, like Wacom tablets, within font design software.
Allows for quicker, more persistent, and consistent results.
Can impede the natural movement of hand strokes.
Positives and Negatives:
Traditional Tool Set Method:
Positive: Better control and confidence in hand movements.
Negative: Additional steps are required for digitization.
Digital Tool Set Method:
Positive: Quick, persistent, and consistent results.
Negative: Potential loss of natural hand stroke movement.
Digitization
Leading software for typeface digitization: FontLab and Glyphs App.
Some designers use Adobe Illustrator for initial design before transferring to font apps (not favored by purists).
Pay attention to both the whole form and counter form for readability.
Testing
Testing is a crucial aspect of the design thinking process, aiding in refining and correcting aspects of the typeface.
Prototyping is a key part of testing and provides valuable feedback.
Readability and legibility are particularly important considerations for text typefaces, while display typefaces prioritize expressive form over readability.
The typeface category influences the level of emphasis placed on readability and legibility.
Deploy
Teething problems may arise even after deploying a completed typeface that was not identified during the prototyping and testing phases.
The task of revision continues even after deployment to address these unforeseen issues.
Thorough testing is crucial to minimize the occurrence of major teething problems.
The rigor of testing helps identify and address minor issues in the typeface.
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| Fig. 4.1 Typeface Construction |
Typeface Construction
Using a grid system with circular forms can aid in the construction of Roman capital letterforms. The grid consists of a square with a circle touching the square's lines at four points. Additionally, a smaller rectangle, positioned at the center of the square, is three-quarters the size of the square. This method offers a potential approach to building and designing letterforms. For more information, further details can be found by referring to the provided sources.
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| Fig. 4.2 Construction and Considerations |
Construction and Considerations
Designing a typeface involves considering various forms and constructions, including the extension of curved forms, achieving vertical alignment, and adjusting letter spacing for visual uniformity. However, the comprehensive nature of typeface creation cannot be covered in a single lecture or limited content. Further exploration and reading are recommended to delve deeper into the subject, as there are numerous additional approaches and considerations to consider beyond the provided information.
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| Fig. 5.1 Size |
Size
Size contrast directs attention by making certain elements larger than others. For example, a big letter will be noticed before a small one. This is often used in titles or headings to make them stand out from the body text.
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| Fig. 5.2 Weight |
Weight
Weight refers to how bold type stands out among lighter type of the same style. It can be achieved through bold type, as well as using rules, spots, and squares to create visual emphasis. Weight is not limited to type alone, as other design elements can also provide powerful points of attraction or emphasis.
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| Fig. 5.3 Form |
Form
The contrast of form encompasses distinctions between capital and lowercase letters, regular and italic variants, as well as condensed and expanded versions within a typeface.
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| Fig. 5.4 Structure |
Structure
Structure refers to the distinct letterforms found in different types of typefaces. Examples include the contrasting characteristics of a monoline sans serif compared to a traditional serif, or the differences between an italic and a blackletter typeface.
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| Fig. 5.5 Texture |
Texture
By combining size, weight, form, and structure contrasts in a block of text, we achieve the contrast of texture. Texture refers to the overall appearance of the lines of type, influenced by both the letterforms and their arrangement on the page.
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| Fig. 5.6 Direction |
Direction
The contrast of direction involves the opposition between vertical and horizontal orientations, as well as the angles in between. It can be achieved by rotating words or combining wide blocks of long lines with tall columns of short lines, resulting in a visually striking contrast.
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| Fig. 5.7 Color |
Color
Considerations should be given to emphasize specific elements and pay attention to the tonal values of colors used, as a secondary color tends to have less emphasis than plain black on white.
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| Fig. 6.10 Axial system - JPEG |
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| Fig. 6.11 Radial system - JPEG |
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| Fig. 6.12 Dilatational system - JPEG |
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| Fig. 6.13 Random system - JPEG |
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| Fig. 6.14 Grid system - JPEG |
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| Fig. 6.15 Modular system - JPEG |
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| Fig. 6.16 Transitional system - JPEG |
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| Fig. 6.17 Bilateral system - JPEG |
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| Fig. 7.1 Trace Letters - attempt #1 |
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| Fig. 7.2 Trace Letters - attempt #2 |
| Fig. 7.3 Trace Letters - attempt #3 |
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| Fig. 7.5 Sketches |
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| Fig. 7.6 Letters refine - attempt #1 |
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| Fig. 7.7 Letters refine - attempt #2 |
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| Fig. 7.8 Letter "H" Refine |
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| Fig. 7.9 Letter "U" Refine |
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| Fig. 7.10 Letter "U" & "C" manipulate |
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| Fig. 7.11 Final type design |
 Fig. 7.12 Type Showcase | ||
Fig. 7.14 Final Fingding Type - PDF |
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