24/04/2024- 15/05/2024 (Week 1-Week 4)
Lizzie Tanaka (0362065)
Advanced Typography | BDCM | Taylor's University
Task 1: Exercises

Lectures

Week 1: AdTypo_1_Typographic Systems

For the first week, we were introduced to the Typographic Systems. Typographic organization is a complex matter because every element is dependent on each other's communication to function well. Additional elements such as hierarchy, order of reading, legibility, and contrast also comes to play here.

The typographic system has been named similar to architects' term of 'shape grammars' which refers to the set of rules that is unique, providing a sense of purpose in the design as well as focuses and directs the decision making. While this system may sound a bit rigid, it does provide a solid framework for beginners as a guidance during their exploration process until their design intuition develops fully.

Basically, all design is based on a structured system and there are 8 main variations:

a. Axial System: Elements are organized to the left/right side of a single axis

Fig 1.1 Axial System

b. Radial System: Elements are extended from a point of focus

Fig 1.2 Radial System

c. Dilatational System: Elements are expanded from a central point in a circular fashion

Fig 1.3 Dilatational System

d. Random System: Elements appear to have no specific patterns or relationships

Fig 1.4

e. Grid System: System of vertical & horizontal divisions

Fig 1.5

f. Transitional System: Informal system of layered banding

Fig 1.6

g. Modular System: Series of non-objective elements that are constructed in as standardized units

Fig 1.7

h. Bilateral System: All text are arranged symmetrically on a singular axis

Fig 1.8

Week 2: AdTypo_2_Typographic Compositions

Design composition in general has their own principles that was designed particularly for layouts with many visuals, not textual. They can be hard to translate and relate when applied to typographic compositions. For example, the rule of thirds which is a photographic guide, where the points of interest are placed in the intersecting lines, might be useful in other visual composition but is hardly used in typography.

Typography system's most used one is grid system, which was derived from the letter press printing and later evolved into what we know as the Swiss (Modernist) style. Younger designers have questioned the rigidness of the typography system and thus produced the post-modernism style which defies the usual organization. However, it requires balance for the information and the 'fun'. It requires intuition and planning, despite the 'madness' and 'chaos'

Environmental Grid:

Exploration of existing structure/numerous structures combined. Designers combine these structures after extracting them, placing non objective elements and text to create texture and visual stimuli.

Fig 1.9

Form and Movement:

This typography system was created by Mr Vinod based on the exploration of the grid system. This urges designers to explore the multitude options the grid system has to offer and to erase the seriousness and rigidness in grid systems. Placement of form over and over again in a space creates movement. Starting out with non-objective elements, and then proceeding to add more into it such as colors, visuals, text, to create a more complex layout.

Fig 1.10

Week 3: AdTypo_3_Context & Creativity

The first mechanically produced letterforms were to imitate handwriting. Handwriting is the basis on form, spacing, conventions, etc. The shapes and lines of letterforms were heavily influenced by tools and materials used, as well as the material on which the text was written on.

EVOLUTION OF LATIN ALPHABETS

Now based on sound, not pictorials.

Fig 1.11

1. Cuneiform, c. 3000 BCE

One of the earliest writing systems, made by pressing a blunt end of reed stylus to wet clay tablets.

Fig 1.12

2. Hieroglyphics, c. 2613-2160 BCE

The art of relief carving, mixing both rebus and phonetic characters. This is the first link to future alphabet system. There are 3 ways the hieroglyphics were utilized:

a. Ideograms: Represent what is depicted

b. Determinatives showing what the signs are phonograms and to indicate general idea of the word

c. Phonograms: Represent sounds that spell out individual words.

Fig 1.13

3. Early Greek, c. 5th BCE

Was based on Egyptian logo-consonantal system (by the Phoenicians). Created 22 phonetic letters. The Greeks added necessary vowels. Their writing system only had uppercase letters, placed between 2 guidelines horizontally. The direction of reading wasn't fixed yet.

> the direction of reading: 'as the ox plows'

One line is read left to right, and then the next right to left. Due to this, the letters are flipped.

The early Greek writing system was a freehand with no serifs. It evolved to be thicker, with less aperture and eventually minimal serifs. It's the model of formal lettering in imperial Rome.

Fig 1.14

4. Roman Uncials, c. 4th CE

> Letters are more rounded, curved form.

> Allows less strokes and allow faster writing

Fig 1.15

5. English Half Uncials, c. 8th CE

> Evolved the Roman uncials to a slanted and condensed form.

European writing system eventually devolved during the war. The fall of Roman empire also caused illiteracy. Emperor Charlemagne then took control and standardized the writing system. Then there was the Carolingian Minuscule. It was used for all legal and literary works to unify communication throughout Europe. It became the standard for Roman capitals (the pattern of humanistic writing).

Fig 1.16

Fig 1.17

6. Black Letters, c. 12-15 CE

Gothic: Artistic expression of middle ages. 'Gothic' was derived from Italian and it refers to the rude and barbaric culture of the Northern Italian Alps. The pointed arch is a replacement of the round arch in Roman letters.

Fig 1.18

7. Movable Type, c. 11-14 CE

It was introduced in 1000-1100 CE and was pioneered in China. However it was achieved in Korea with the creation of the Hangul script. China failed due to the number of characters they had. This happened few decades before the Guttenberg's Bible in 1439. Koreans successfully created movable type in bronze through their Hangul script.

Fig 1.19

Why do people rarely talk about the influence of Egyptians on Greek letters?

In 19th century, it's out of style for people to give credit Africa and/or Africans on anything of value. Greece and Rome were elevated as much older and much more influential civilizations, but still less than other civilizations such as Indus Valley or China. Many academics studied other cultures through colonial lenses, spreading false truth. An example is Indology (the study of India), fueled by Max Mueller, who had never been to India.

Later day typographers then began to pay homage to these developments so books were written and published. There were recreations of handwriting styles to mechanical forms. The west then digitized historical creations, type foundries would create market, sell or license them

Eastern Developments in Handwriting.

> Phoenician was developed in what is now known as Syria, Lebanon, Israel.

1. Middle Eastern: Phoenician letters might take a huge turn here, where sounds are starting to be represented in letters but it is possibly influenced by Egyptian Hieroglyphics and the Hieratic Script too.

Fig 1.20

2. Chinese script

Fig 1.21

3. Indus Script: Was believed to be a logo-syllabic nature but some debate that it is non linguistic.

Fig 1.22

4. Brahmi Script (450-350 BC): Earliest writing system in India after the Indus script. All modern Indian scripts and several hundred of scripts found in Southeast and East Asia are derived from Brahmi Script. Though, the origin of it is still a topic of debate: Semitic scripts or the Indus script.

Fig 1.23

5. Pallava

It's the oldest script in Southeast Asia, and the basis of other writing systems in SEA. It was the basis of Pra Nagari (early form of Nagari script). Pra Nagari is present in India in Sanskrit and in the Blanjong Inscription of Bali.

Fig 1.24

Fig 1.25

6. Kawi

Indonesia's (probably) most historical script, Kawi, is based on Nagari but is indigenous to Java. Kawi is derived from 'kavya' (Sanskrit), meaning 'poet. It was used as a form of communication between kingdoms and was widespread in Indonesia and Philippines. Ancient kingdoms in the Malay peninsula had their writing system in Indian and Kawi to write old Malay.

Fig 1.26

> There is also Incung from Kerinci, which is the original writing system of people in Kampung Kerinci, not Jawi (like what people were taught of). Also appears in Batak writing, Bugis writing, and Javanese script.

Fig 1.27

7. Jawi (Arabic based alphabets)

Not simply derived from Arabic alphabets. Ancient Hindu societies were very classist and caste-based. Muslim traders who were involved in missionary works taught people who cannot read or write Jawi.

Fig 1.28

More vernacular letterforms are produced by company giants like Google. Muthu Nedumaran is the one who introduced 'multi-script' typefaces. There are local movements in Malaysia such as murasu.com, Huruf, Ek Type, and Indian Type foundry where they focus on vernacular letters.

Asia/East have neglected much of their writing heritage and adapted the western printing technologies. Creativity and originality are properties that are commonly intertwined. As young learners, we should examine and fully understand cultures to avoid appropriating cultures and developments. Creativity and inspiration begins by observing our surroundings and exploring our own history.

Week 4: AdTypo_4_Designing Type

Week 4's lecture explained to us on constructing type. Xavier Dupre (2007) concluded 2 reasons to why typefaces are designed:

1. Type design has a social responsibility, thus the readability and legibility has to be improved constantly

2. Expressing art through designing type

Frutiger

Sans serif designed by Adrian Futiger (20th century Swiss designer). Adrian also designed 'Univers.'

The goal of this typeface: clean, legible, distinctive type, easy to read closely and from far away. A functional typeface

In designing letterforms, it's crucial to consider that it has to be able to be read in poor lighting and when in unstable movement.

Fig 1.29 Frutiger (Week 4, 23/05/2024)

Verdana:

- by Matthew Carter, commissioned by Microsoft.

- Designed to be legible even in very small point size

- Designed as a type for screen, made to be read on electronic devices.

Fig 1.30 Verdana (Week 4, 23/05/2024)

Johnston Sans:

- by Edward Johnson, for the London's Underground railway posters and signage.

- He provided details and examples of letterforms that set printed type until today.

Fig 1.31 Johnston Sans on a signage (Week 4, 23/05/2024)

Type design process:

1. Research

When creating type, designers are to do a deep dive into the history, the conventions and the anatomy, as well as to grasp the nuances like serif, sans-serif, etc. Understanding the technical parts ensures a precise type. The purpose of the type should also be identified, for example; signages. An analysis of existing fonts will also help with inspiration and insight into patterns of use, guiding the refinement process for usability as well as functionality.

2. Sketching

Few designers go for the more traditional approach by sketching the type using brushes, pens, before digitizing them. This particular approach offers more control for people who are confident with the tools. There are other designers who prefer the digital tools such as drawing tablets, direct inputs into the font design software. It is quicker and more consistent but can lack the natural flow of hand-drawn strokes.

3. Digitalization

Famous software tools such as FontLab and Glyphs app are most commonly used by professionals for digitalizing type. Some designers still use Adobe Illustrator when designing letterforms. During the digitalization stage, attention should be directed both at the overall form and the counterform since the readability of the type heavily relies on this.

4. Testing

This part is an important process to provide feedback on refinement and correcting different aspects of the type. Prototyping plays an essential role in this phase as it gives insights to the designers. The overall legibility and readability are crucial considerations, especially in text type. Display types, where the form expressions holds more character, it is less critical.

5. Deploy

Issues that may be unseen during the testing can still appear even after deployment of the type. Refinements extends even after the type has been deployed.

Typeface construction using grids and with circular forms can help the construction of letterforms and is a possible approach when creating letterforms. Various forms and constructions need careful consideration. For example, the adjustment of curved form to extend beyond the baseline and cap line, which helps ensuring the consistency with straight forms.

Spacing between the letters also require attention, it's beyond than just equal spacing. Adjustments are needed to result in a united visual whitespace between each letters (known as 'fitting' the type) which helps make sure the spacing seems consistent and harmonious.

Week 5: AdTypo_5_Perception and Organisation

Instructions

Task 1:

a. Typographic Systems

b. Type & Play (Part 1 & 2)

The task is to be done using Adobe InDesign in a 200x200mm sized page with only black and one additional colour. Graphic elements can be used but is limited.

Process

a. Typographic Systems

Week 1: Attempts

1. Axial System

Fig 2.1 Axial System Draft (Week 1, 25/04/2024)

For the axial system, I tried some more basic layouts such as the first one, just alternating in which side the text was placed. On the second draft, I tried to switch things up by rotating the texts and having the axial line diagonal, instead of the usual vertical one. I combined the usual straight aligned text with a rotated one. I had to give some space between the text and the axial line, instead of it being exactly sticking on the guide since it looks messy. I also added shapes that could elevate the overall look.

Out of the three, I ended up choosing the first one. I asked for feedback from Mr Vinod on week 2. He commented that the layout is too heavy on the bottom area, particularly the big title.

Fonts:

Draft 01

ITC Garamond Std Light Condensed

ITC Garamond Std Bold Condensed

Draft 02

Univers LT Std 55 Roman

Univers LT Std 65 Roman

Draft 03

Univers LT Std 47 Light Condensed

Univers LT Std 57 Condensed

Univers LT Std 67 Bold Condensed

2. Radial System

Fig 2.2 Radial System Draft (Week 1, 25/04/2024)

Radial system was quite hard for me since I had to work with rotated texts and I struggled with the layout as well as how the text should be placed so that it's still readable. Trying to make the text looks neat like it's circling a shape is a tedious process.

I chose the first layout to ask for feedback. Mr Vinod told me that the layout is a bit weirdly composed, especially the part where it goes near the edge. He commented that while it's an interesting design choice, it's in danger of being cut off in terms of readability. The whole layout is not really well balanced.

Fonts:

Draft 01

ITC Garamond Std Light Condensed

ITC Garamond Std Book Condensed

ITC Garamond Std Book

ITC Garamond Std Bold

Draft 02

Univers LT Std 57 Condensed

Univers LT Std 67 Bold Condensed

Futura Std Heavy

3. Dilatational System

Fig 2.3 Dilatational System Draft (Week 1, 25/04/2024)

Dilatational was a struggle in doing the layout, I had to keep on rotating the circles and adjusting the way the text was placed on top of the circles. I liked draft 02, thus why there are many alternatives with similar layouts to it since I wanted to see how it would look like.

Initially, I chose the second layout because I liked how it kind of flowed (?) into each group of text. However when asked for feedback, Mr Vinod told me that the title part had a weird shape, even though it seems interesting. He also pointed out that each shape needs to be a circle, not an oval.

When doing the drafts, I sort of forgot that I needed to do it in circles, since doing it in ovals made the layout composition process a bit easier. I also adjusted the circles a lot so at one point I kind of forgot that it should be a circle.

Fonts:

Draft 01

Adobe Caslon Pro Bold

Adobe Caslon Pro Regular

Adobe Caslon Pro Italic

Draft 02-05

Futura Std Bold

Futura Std Heavy

Futura Std Book

4. Random System

Fig 2.4 Random System Draft (Week 1, 25/04/2024)

Random system is the one I struggled the most, I think. I work better with more rigid layouts like grid and modular. However, I find that the process is somewhat fun. For draft 01, I tried to 'break' the usual layout and go over the edges but I tried to make the words look sort of stacked on top of each other. For draft 02, I played with opacity for the background text and I played with the tracking of the alphabets too, changing its colors on the alphabets with a narrow tracking. The background text was a very challenging process.

I put draft 02 for feedback and Mr Vinod said it was interesting as it is a different type of random since it's a readable random.

Fonts:

Draft 02

Futura Std Extra Bold

Futura Std Light

Futura Std Medium

Draft 02

ITC Garamond Std Book Condensed

5. Grid System

Fig 2.5 Grid System Draft (Week 1, 25/04/2024)

For this grid system, I did 6 layouts because I thought nothing really stood out, and everything seemed pretty boring. I used 5 columns and 5 rows for the usual margin, except on draft 02-03 where I made the margin smaller, thus the grids were 4x4. I thought 01-02 were pretty boring so I tried incorporating shapes for draft 03. I didn't really like it since I felt like the text was not too readable. Draft 04 was a change in the direction of the text but I don't like that the text is sideways, a bit harder to read. On draft 05, I used line that sort of floats (?) not going over other lines to divide the composition based on groups. Draft 06 was an attempt to use the squares in different colors.

I put draft 05 for feedback and Mr Vinod said it was already good.

Fonts

Draft 01

Univers LT Std 45 Light

Univers LT Std 65 Bold

Draft 02-03

Futura Std Light

Draft 04

Univers LT Std 45 Light

Univers LT Std 55 Roman

Univers LT Std 65 Bold

Draft 05

ITC Garamond Std Light Condensed

ITC Garamond Std Book Condensed

ITC Garamond Std Bold Condensed

Draft 06

Gill Sans MT Regular

Gill Sans MT Bold

6. Transitional System

Fig 2.6 Transitional System Draft (Week 1, 25/04/2024)

Transitional system was quite challenging, all I understood was that the composition had to look like one group was transitioning to another group of information. I did draft 01 using the pencil tool as a base and writing on the path. However, when doing this I felt like it looked similar to my dilatational drafts. Draft 02 was an attempt without paths, I just rotated each text. I wanted draft 02 to look like it kept on falling from the top left to bottom right. Draft 03 was made with the flow in mind, kind of a zigzag flow (?). I overlapped each text a bit on top of each other and used non objective elements to complete the look.

I submitted the third draft for feedback. Mr Vinod pointed out that I should be careful with the smaller texts since some parts are unreadable and suggested me to rethink on my font size choices.

Fonts:

Draft 01

Serifa Std 55 Roman

Serifa Std 45 Light

Draft 02-03

Futura Std Bold

Futura Std Book

Futura Std Light

7. Modular System

Fig 2.7 Modular System Draft (Week 1, 25/04/2024)

Modular system was a rather fun process, alternating with the units. For the layouts, I used a 6x6 grid as a guide. Draft 01 had 2 units that are used alternatively, either 1 unit or 2 units horizontally. However I do find this draft a bit simple and boring. For draft 02, I used a 6 unit for the title and the rest is 1 unit. I tried alternating the title with italics but it looked strange. The third draft started out more experimental, since I wanted to include more shapes. It took quite some time to make sure everything was symmetrical. Draft 03 only used 1 unit of grid.

I submitted the third draft for feedback. Mr Vinod said it is over-reliant on the graphical elements but he had said it was interesting and this layout was accepted.

Fonts:

Draft 01

Futura Std Heavy

Futura Std Light

Draft 02

Univers LT Std 65 Bold

Univers LT Std 65 Bold Oblique

Univers LT Std 45 Light

Draft 03

Futura Std Heavy

Futura Std Light

8. Bilateral System

Fig 2.8 Bilateral System Draft (Week 1, 25/04/2024)

For the bilateral system, I had a misunderstanding of the whole idea. I saw from examples that had two axis lines and so I made most of these with two lines. Draft 01 was a trial so I didn't like it. Draft 02-03 had quite the layout that I liked and I just add another alternative with a different shape. Draft 04 was purely experimental based on the examples I saw but didn't work out. Draft 05 was also experimental, trying to rotate the texts. Not too fond of last layout since it looks weird.

I ended up going with layout 3 for feedback. However, this is where I find that only 1 axis line is used, not more. So i had to rework on this layout.

Fonts:

Draft 01

Bembo Std Regular

Bembo Std Italic

Bembo Std Semibold Italic

Bembo Std Bold Italic

Draft 02-03

Serifa Std 45 Light

Serifa Std 46 Light Italic

Serifa Std 55 Roman

Serifa Std 65 Bold

Draft 04

Futura Std Book

Futura Std Light

Draft 05

Serifa Std 45 Light

Serifa Std 65 Bold

Week 2: Revisions

1. Axial System

Fig 2.9 Axial System Revised (Week 2, 03/05/2024)

I decided to decrease the size of the title and rearranged the layout so it looks more balanced.

2. Radial System

Fig 3.10 Radial System (Week 2, 03/05/2024)

For the radial system, I ended up not liking the layout I submitted for feedback so I chose the first layout and did some adjustments. I increased the size of the texts because I felt like it was too small, refined their positions as well.

3. Dilatational System

Fig 3.11 Dilatational System (Week 2, 03/05/2024)

For the dilatational system, I decided to rework it using the first draft since. I wanted the text to look like it's flowing into each other.

4. Transitional System

As for the transitional system, my only issue was the font size. I ended up changing the ones Mr Vinod pointed out (the 'open public lecture' and 'the design school') and increased it to 13, as well as make it less overlapping to increase the readability.

5. Bilateral System

Fig 3.12 Bilateral System (Week 2, 02/05/2024)

Honestly with the bilateral system strictly using one center line, it's difficult to create a less boring version of it. For my bilateral system, I played with the pop of magenta to make it less flat. I also used the square symmetrically on the top and on the bottom.

FINAL RESULTS: Typographic Systems

Fig 4.1 Final Axial System - JPEG

Fig 4.2 Final Radial System - JPEG

Fig 4.3 Final Dilatational System - JPEG

Fig 4.4 Final Random System - JPEG

Fig 4.5 Final Grid System - JPEG

Fig 4.6 Final Transitional System - JPEG

Fig 4.7 Final Modular System - JPEG

Fig 4.8 Final Bilateral System - JPEG

Fig 4.9 Final Typographic Systems - PDF

Fig 4.10 Final Typographic Systems - PDF (with guides)

b. Finding Type (Type and Play; Exercise 2)

In exercise 2, we are to choose an image that is similar in patterns and analyse it for potential letterforms from basic shapes. We are tasked to refine the extracted forms and create a 4-letter type design, combining the unique characteristics of our chosen image and a chosen reference typeface.

Fig 5.1 Chosen image (Week 2, 03/05/2024)

I took this picture of a flower plant in the campus area where I mainly focused on the branches instead of the leaves or flowers. While briefly analyzing it, I've thought of letters that are sharper such as K, L, A, V, Y, T, X, and more.

Fig 5.2 is what I traced from the photo. The easiest to find was the V (upside down) and the A. I found 'y' quite interesting with one part curved to the inside. After the three letters, I struggled with finding the last one. I was trying to find an M, N, T, X but didn't really find anything. At the end, I decided with the 'k' which had the letterform of a lowercase 'k'.

Fig 5.2 Traced letterforms (Week 3, 08/05/2024)

Below is my extracted letters. I tried to trace it as detailed as I could, especially on the rough edges of the branches. While tracing, I did notice that some of the strokes were very smooth and then suddenly very rough and bumpy. I've also noticed that the strokes were a contrast of thin and thicker ones, as seen in letters 'V' and 'A'. Personally, I liked the way both letters are not straight but crooked and I made note that I wanted the crookedness to stay in the final letters a bit.

Fig 5.3 Extraction (Week 3, 08/05/2024)

For the type direction, I wanted to do a tall, more condensed letterforms, so I chose Futura Std Medium Condensed as a guide to the height and general width.

Fig 5.4 Reference Font (Week 3, 08/05/2024)

The first thing I did was resize the letters to fit the baseline of the reference font. There wasn't any adjustment here except for the height.

Fig 5.5 Letters on baseline (Week 3, 08/05/2024)

I then changed the K to an uppercase letterform and straighten the main stroke. I also made sure the end of the letters touch the baseline so it'll look proportional. For V and A, I resized the width to match the reference font's width. Some extreme edges were also deleted. Most changes to the strokes are made using the pencil tool, since I find it easier to achieve what I had in mind.

Fig 5.6 Lowercase to uppercase (Week 3, 08/05/2024)

Here's where I attempted to basically reshape everything, change the stroke width to make it consistent, and trying to not smoothen everything out to keep the features of the branches. I struggled on the curve of 'Y' since I think it looks weird, doesn't resemble the initial shape. The 'K' was challenging as well on the main stroke. I smoothed out most of the edges.

Letter V's left stroke was also modified to touch the topline, so it doesn't look too crooked compared to the rest. The apex of 'A' was also modified to be more rounded, an attempt of making it look like the vortex of letter 'V'.

Fig 5.7 Refining #1 (Week 3, 08/05/2024)

I continued to smooth the edges, even minimizing the crookedness of letter 'A'. I added a bar on the 'A' using pencil tool, I wanted it to resemble a branch sticking out. I modified the crotch of these letters to look like a branch curling (?) instead of the regular sharp ones. More smoothing out the edges but by this point I feel like it felt too smooth.

Fig 5.8 Refining #2 (Week 3, 08/05/2024)

I went back on the K and changed the main stroke to go from thick to thin and thick again as it goes further down. Went back as well to change the curve of the Y. Not many refinements here because I thought I was done.

Fig 5.9 Refining #3 (Week 3, 08/05/2024)

I asked feedback from Mr Vinod and he mentioned the stroke on the K looked weird (it bothers me too after looking at it again) and the bumps can be refined. The one on the thicker stroke of V looked good. I went back to the letters to refine the bumps, basing it with the one on letter V.

I refined the ends of the letters which touch the baseline and the cap line too, this is the part I struggled with since it all looked strange and did not resemble a branch to me.

Fig 5.10 Refining #4 (Week 3, 08/05/2024)

After finalizing my type, we were also tasked to make a poster to display the type. The poster should have integrated type and a related image. For my poster, I found a dried tree/branches picture and I cropped it on a black background. Fig 5.11 is my first attempt. I erased some parts of the type to look like the branches are going in and out of the type.

During class of week 4, Mr Vinod mentioned in feedbacks that the poster should really look like a movie poster. My poster isn't exactly looking like a film poster. I decided to rework the whole poster.

Fig 5.11 Poster attempt 1 (Week 3, 08/05/2024)

In the second attempt, I used the same pictures on attempt 1 but instead of changing the color to a solid red, I kept it like the original picture. I wanted my poster to have this eerie, quiet feeling, thus why I end up with a more empty poster. I duplicated the tree and change it to red and lowered the opacity. The text is also in color burn layer mode. Mr Vinod said that the integration is minimal but it's still accepted.

Fig 5.12 Poster attempt #2 (Week 4, 15/05/2024)

Final Result: Finding Type

Fig 5.13 Final Compilation (Week 3, 08/05/2024)

Fig 5.14 Final Type; V (Week 3, 08/05/2024)

Fig 5.15 Final Type; A (Week 3, 08/05/2024)

Fig 5.16 Final Type; Y (Week 3, 08/05/2024)

Fig 5.17 Final Type; K (Week 3, 08/05/2024)

Fig 5.18 Extraction and Final Comparison (Week 3, 08/05/2024)

Fig 5.19 Final Poster - JPEG (Week 3, 15/05/2024)

Fig 5.20 Final Compilation - PDF (Week 3, 08/05/2024)

Fig 5.21 Final Poster (Week 3, 05/05/2024)

Feedback

Week 1

General

After looking for inspiration, don't immediately work on our task to avoid copying their style instead of exploring by ourselves first.

Specific:

Week 2

General:

- Italics are strictly for emphasizing important information

- Be careful of font size: 8-12pt, 8 and 12 is an extreme, ideally should be in between those numbers.

Specific

- Axial system layout is heavier on the bottom (the title)

- Radial system has a weird composition, the text on the edge may be a good design choice but is in danger of being cut off in terms of readability. Maybe can rework on this layout

- Dilatational system should be made using circles, not ovals. The title looks strange. Interesting but the composition can be rethought of again

- Random system & grid system is already good, a different style but it's still accepted. Grid is reliant on the graphical elements but still accepted. Random system is a readable kind of random but is still accepted

- Transitional system has a good layout, pay attention to the font size, some parts are not as readable

- Bilateral system is wrong, bilateral only has 1 single line and should all be center aligned.

Week 3

General:

- Make sure your final type design is representative of your image

- Make sure your type has equal weight class, characteristics and is proportional

- Extract as detailed as possible, don't do it in a crude manner. Have to understand structure of the image.

- Font reference need to have a resemblance to the picture or a neutral one

- Make sure the image interacts with your text in the poster.

Specific:

- Keep your picture within range when modifying letters

- The thin and thick strokes in K looks weird

- Can refine the bumps on the rest of the letters

Week 4

General:

- The poster should look like an actual movie poster

- Make sure your type integrates to the image in the poster

Specific:

- Integration is minimal but it's acceptable

Reflections

Experience:

Overall I'd say the tasks are quite fun to execute. I had more opportunity to explore around type. The process was tedious and it took quite the time to perfect and finish a task but it felt rewarding at the end. I'm surprised that it's more fun than I had expected before I began doing the tasks. I've also learned a lot more about type and text in general.

Observations:

These past few weeks, I observed that time management is definitely one of the most important thing to have. Each tasks required a lot of time to finish and without good time management, I'd be left behind. I've also observed that the tiniest tweaks really do their job in enhancing the overall final result.

Findings:

I find that as a designer, I should always observe things well, especially in things like references to know what made the design work and what the designer did. I do think being observant is something I have to improve on since I also tend to overlook the tiny details even though it significantly influences the final work.