31.8.2022 - 5.10.2022 (Week 1 - Week 6)
Loh Qiao Yin/ 0348923
Advanced Typography / Bachelor of Design in Creative Media / Taylor's
University
Task 1/ Exercises
[Exercise 1- Typographic Systems]
[Exercise
2- Type & Play]
LECTURES
Week 1
Ad_Typography: Typographic Systems
Structural System (like 'shape grammars')
Structural System (like 'shape grammars')
- Axial: Elements organised to the left or right of a single axis
- Radial: Elements extended from the point of focus
- Dilatational: Elements expand from a central point in a circular fashion
- Random: Elements have no specific pattern or relationship
- Grid: A system of vertical and horizontal divisions
- Modular: A series of non-objective elements constructed in standardised
units
- Transitional: An informal system of layered banding
- Bilateral: Text is arranged symmetrically on a single axis
Week 2
Ad_Typography: Typographic Composition
Environmental Grid
Based on the exploration of existing or a few structures combined.
Information is then organised around the super-structure.
Fig 1.1 Lecture slide, 11 September 2022
Ad_Typography: Context & Creativity
Handwriting
- contributes to the first mechanically produced letterforms
Local movements and individuals
- Ek Type and Indian Type Foundry contributed to the development of
vernacular typefaces in India
- Huruf, a local group of graphic designers digitizing and
revitalizing typefaces in Malaysia
Week 4
Ad_Typography: Designing Type
General process of Type Design:
1. Research
- examine existing fonts for inspiration
- understand type anatomy/ terminologies
- know the type's purpose
2. Sketching
- traditionally/ digitally
3. Digitization
- Fontlab/ Glyphs App
- craft in Adobe Illustrator then import into said platforms
4. Testing
- refining and correcting aspects of the typeface
5. Deploy
- even after deploying, issues like teething might exist as they were not noticed during the testing phases. Revisions might still be required
Week 5
Ad_Typography: Perception and Organisation
1) Contrast
Fig 1.2 Devised by Rudi Ruegg, 5 October 2022
2) Form
3) Organisation
Week 4
Ad_Typography: Designing Type
General process of Type Design:
1. Research
- examine existing fonts for inspiration
- understand type anatomy/ terminologies
- know the type's purpose
2. Sketching
- traditionally/ digitally
3. Digitization
- Fontlab/ Glyphs App
- craft in Adobe Illustrator then import into said platforms
4. Testing
- refining and correcting aspects of the typeface
5. Deploy
- even after deploying, issues like teething might exist as they were not noticed during the testing phases. Revisions might still be required
Week 5
Ad_Typography: Perception and Organisation
1) Contrast
Fig 1.2 Devised by Rudi Ruegg, 5 October 2022
2) Form
Fig 1.3 Screenshot from lecture slide, 5 October 2022
Fig 1.4 Gestalt principles of grouping, 5 October 2022
INSTRUCTIONS
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Task 1: Exercise 1 [Typographic Systems]
i. SKETCHES
Made 4 to 9 thumbnails of different compositions for each system. My motive is to grind out as many variations as possible so I can have a fresher idea and wider choices.
ii. DIGITALISED SKETCH
Axial System
This system is the one when I have a hard time creating more unique ideas but it all turned out common. Thus, I just focus on adhering to the system correctly.
Fig 2.2 Axial system tryouts #1, 7 September 2022
Radial System
Imagining rays of sunlight when doing radial system. This is when I start to focus on having more variations in the font size.
Dilatational System
Playing with rhythm.
Random System
Arranging chaos in a well-thought way.
Grid System
The safest system for creating a composition, in my opinion. Not necessarily easier as more effort is needed to make it look interesting.
Modular System
Layout with a formula.
Transitional System
Playing stacking with words, creating a rhythm.
Bilateral System
A spine with muscle supporting it.
iii. REVISED CHOSEN SYSTEM
Axial System
Most of my texts are sitting on the left side of the canvas, thus, the circle is used to balance the composition. I was glad when Mr Vinod noticed that because initially I was worried that the horizontal line might be known as disrupting the axial system, making the design not work.
Fonts:
- Serifa Std (56 Italic, 55 Roman)
- Univers LT Std (55 Oblique)
- ITC Garamond Std (Ultra Narrow)
Radial System
*deep inhale* This is not the design I showed for feedback. I was too hesitant with that choice so in the end, I decided to go with my gut feeling which is choosing this version. I did have some discussions with my peer for constructive feedback and the suggestion was to have the big circle from #2 at the corner, I tried but it did not work as imagined. I settled on this one instead.
Fonts:
- Univers LT Std (73 Black Extended Oblique, 55 Oblique, 75 Black Oblique, 55 Roman)
- Gill Sans Std (Bold Italic, Shadowed)
Dilatational System
I was unable to figure out a unique composition I can do with my existing technical skills in Indesign. Hence, I at least try to have some variations on the thickness of the words and keep in mind the hierarchy of information by font size.
Fonts:
- Univers LT Std (85 Extra Black Oblique, 85 Extra Black, 67 Bold Condensed, 73 Black Extended, 75 Black Oblique, 57 Condensed)
- Gill Sans Std (Bold)
Random System
The idea came from me wanting to be a bit playful with my design concept. I purposely arranged the words in a way they are falling into a corner and just jumbling up. I limited the design to only one typeface as the focus should be on the idea itself.
Fonts:
- Gill Sans Std (Bold, Regular, Condensed, Light shadowed, Shadowed)
Grid System
The composition was somewhat inspired by how elevators work, one goes up and one goes down. I fixed some minor alignment issues and reduced the font size of am/pm. I was very focused on establishing the grid composition and put less attention to the variation of the font. This design is meant to be a simple one I guess.
Font:
- Univers Lt Std (55 Oblique)
Modular System
The leftmost yellow circle is meant to be out of the canvas to avoid too much symmetry. The larger number of circles on the left part of the canvas is mostly balanced by the big black circle on the right.
Fonts:
- Gill Sans Std (Light, Light Italic, Bold Italic)
- Univers LT Std (75 Black Oblique, 55 Extended Oblique, 45 Light Oblique)
Transitional System
The non-objective element (lines) on the top were removed after Mr Vinod's feedback. The bottom text boxes are not sitting on the lowest guide to avoid everything looking too heavy and 'sinking' at the bottom.
Fonts:
- Serifa Std (55 Roman, 56 Italic)
- Janson Text Lt Std (75 Bold, 55 Roman)
Bilateral System
Playing with shapes and negative space. I am more explorative with the main headline by including different font sizes by words in it.
Fonts:
- ITC Garamond Std (Book Condensed)
- Futura Std (Heavy, Extra Bold Oblique, Bold, Medium)
Made 4 to 9 thumbnails of different compositions for each system. My motive is to grind out as many variations as possible so I can have a fresher idea and wider choices.
Fig 2.1 Sketches, 7 September 2022
Axial System
This system is the one when I have a hard time creating more unique ideas but it all turned out common. Thus, I just focus on adhering to the system correctly.
Fig 2.2 Axial system tryouts #1, 7 September 2022
Radial System
Imagining rays of sunlight when doing radial system. This is when I start to focus on having more variations in the font size.
Fig 2.3 Radial system tryouts #1, 7 September 2022
Playing with rhythm.
Fig 2.4 Dilatational system tryouts #1, 7 September
2022
Arranging chaos in a well-thought way.
Fig 2.5 Random system tryouts #1, 7 September
2022
The safest system for creating a composition, in my opinion. Not necessarily easier as more effort is needed to make it look interesting.
Fig 2.6 Grid system tryouts #1, 7 September 2022
Layout with a formula.
Fig 2.7 Modular system tryouts #1, 7 September
2022
Playing stacking with words, creating a rhythm.
Fig 2.8 Transitional system tryouts #1, 7 September
2022
A spine with muscle supporting it.
Fig 2.9 Bilateral system tryouts #1, 7 September
2022
Axial System
Most of my texts are sitting on the left side of the canvas, thus, the circle is used to balance the composition. I was glad when Mr Vinod noticed that because initially I was worried that the horizontal line might be known as disrupting the axial system, making the design not work.
Fig 3.1 Revised axial system, 8 September 2022
Fonts:
- Serifa Std (56 Italic, 55 Roman)
- Univers LT Std (55 Oblique)
- ITC Garamond Std (Ultra Narrow)
Radial System
*deep inhale* This is not the design I showed for feedback. I was too hesitant with that choice so in the end, I decided to go with my gut feeling which is choosing this version. I did have some discussions with my peer for constructive feedback and the suggestion was to have the big circle from #2 at the corner, I tried but it did not work as imagined. I settled on this one instead.
Fig 3.2 Revised radial system, 8 September 2022
Fonts:
- Univers LT Std (73 Black Extended Oblique, 55 Oblique, 75 Black Oblique, 55 Roman)
- Gill Sans Std (Bold Italic, Shadowed)
Dilatational System
I was unable to figure out a unique composition I can do with my existing technical skills in Indesign. Hence, I at least try to have some variations on the thickness of the words and keep in mind the hierarchy of information by font size.
Fig 3.3 Revised dilatational system, 8 September
2022
Fonts:
- Univers LT Std (85 Extra Black Oblique, 85 Extra Black, 67 Bold Condensed, 73 Black Extended, 75 Black Oblique, 57 Condensed)
- Gill Sans Std (Bold)
Random System
The idea came from me wanting to be a bit playful with my design concept. I purposely arranged the words in a way they are falling into a corner and just jumbling up. I limited the design to only one typeface as the focus should be on the idea itself.
Fig 3.4 Revised random system, 8 September 2022
Fonts:
- Gill Sans Std (Bold, Regular, Condensed, Light shadowed, Shadowed)
Grid System
The composition was somewhat inspired by how elevators work, one goes up and one goes down. I fixed some minor alignment issues and reduced the font size of am/pm. I was very focused on establishing the grid composition and put less attention to the variation of the font. This design is meant to be a simple one I guess.
Fig 3.5 Revised grid system, 8 September 2022
Font:
- Univers Lt Std (55 Oblique)
Modular System
The leftmost yellow circle is meant to be out of the canvas to avoid too much symmetry. The larger number of circles on the left part of the canvas is mostly balanced by the big black circle on the right.
Fig 3.6 Revised modular system, 8 September 2022
Fonts:
- Gill Sans Std (Light, Light Italic, Bold Italic)
- Univers LT Std (75 Black Oblique, 55 Extended Oblique, 45 Light Oblique)
Transitional System
The non-objective element (lines) on the top were removed after Mr Vinod's feedback. The bottom text boxes are not sitting on the lowest guide to avoid everything looking too heavy and 'sinking' at the bottom.
Fig 3.7 Revised transitional system, 8 September
2022
Fonts:
- Serifa Std (55 Roman, 56 Italic)
- Janson Text Lt Std (75 Bold, 55 Roman)
Bilateral System
Playing with shapes and negative space. I am more explorative with the main headline by including different font sizes by words in it.
Fig 3.8 Revised bilateral system, 8 September 2022
- ITC Garamond Std (Book Condensed)
- Futura Std (Heavy, Extra Bold Oblique, Bold, Medium)
iv. FINAL SUBMISSION
Task 1: Exercise 1 [Typographic Systems]
Fig 4.1 Final radial system in JPG, 8 September 2022
Fig 4.2 Final radial system, 8 September 2022
Fig 4.3 Final dilatational system, 8 September 2022
Fig 4.4 Final random system, 8 September 2022
Fig 4.5 Final grid system, 8 September 2022
Fig 4.6 Final transitional system, 8 September 2022
Fig 4.7 Final modular system, 8 September 2022
Fig 4.8 Final bilateral system, 8 September 2022
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Fig 4.9 Task 1: Exercise 1 [Typographic Systems] in PDF, 8 September 2022
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Fig 4.10 Task 1: Exercise 1 [Typographic Systems] w/ grids and guides in PDF, 8 September 2022
Task 1: Exercise 2 [Type & Play]
Part 1: Finding Type
i. CHOSEN SUBJECT
I was looking around my house to find objects that I can see patterns of alphabet in. The creases of unironed shirt and the cluttery phone cables that annoys me became inspirations for my chosen subjects.
Fig 5.1 White cotton collar shirt, 10 September 2022
Fig 5.2 Loops of phone charging cables, 10
September 2022
Part 1: Finding Type
i. CHOSEN SUBJECT
I was looking around my house to find objects that I can see patterns of alphabet in. The creases of unironed shirt and the cluttery phone cables that annoys me became inspirations for my chosen subjects.
Fig 5.1 White cotton collar shirt, 10 September 2022
ii. LETTERFORM EXTRACTION
Traced the alphabets I can see in Adobe Illustrator.
iii. SKETCH & REFERENCE
Decided to go with the top ones (letterforms from the shirt) as there is more room for me to explore and I am usually inclined to like sharper strokes. In the 1st row, I mimic as much as possible the feeling of the original strokes while keeping letter proportion in mind. In the 2nd row, I tried to apply more consistency in the thickness of strokes and make the letters more balanced, especially in T, A and V.
A reference is required in developing our typeface and we are encouraged to choose it out of the 10 provided typefaces. I am going for a sans-serif font and Gill Sans Std seemed like a solid base for my typeface.
iv. DIGITALISATION
Four attempts of digitalisation, without and with guides.
Attempt #1
Followed the original shapes as close as possible while mildly keeping in mind the proportion of letters by taking reference from Gill Sans Std.
Attempt #2
Next, I worked on making sure the letters are more well-balanced. Changes on the stem of Y, T, F, the apex of A and the bottom part of V can be seen.
Attempt #3
It lacks a sense of refinement so I tried smoothening out the strokes but also not too much so the letters do not lose their distinguished look. The jagged part on the stem of 'F' was removed.
Attempt #4
However, I still think that more can be done. Thus, I have smoothened the strokes even much more in this attempt. I am careful with the letter V as I do not want it to look like a 'U'. It is very difficult to make the 'Y' look balanced while maintaining its original extracted shape.
v. LETTERFORM EXTRACTION #2
After receiving my feedback, I started from a wobbly place as my extraction was not precise and there are more shapes that could have been extracted. I tried to be more precise this time.
Traced the alphabets I can see in Adobe Illustrator.
Fig 5.3 Traced letters, 11 September
2022
For the unironed shirt, I managed to see T, A,
N, P, F, Y and V. The shapes are quite sharp and
have a contrast between thick and thin strokes.
For the looped cables, I traced out E, A, X, C,
Y and V. They have a curvy look like an effect
of being warped in a circle. The thickness of
strokes is almost the same in an alphabet.
Fig 5.4 Extracted letterforms, 11 September
2022
iii. SKETCH & REFERENCE
Decided to go with the top ones (letterforms from the shirt) as there is more room for me to explore and I am usually inclined to like sharper strokes. In the 1st row, I mimic as much as possible the feeling of the original strokes while keeping letter proportion in mind. In the 2nd row, I tried to apply more consistency in the thickness of strokes and make the letters more balanced, especially in T, A and V.
Fig 5.5 Sketches for letterforms, 11
September 2022
A reference is required in developing our typeface and we are encouraged to choose it out of the 10 provided typefaces. I am going for a sans-serif font and Gill Sans Std seemed like a solid base for my typeface.
Fig 5.6 Gill Sans Std as reference, 11
September 2022
iv. DIGITALISATION
Four attempts of digitalisation, without and with guides.
Fig 5.7 Attempts without guides, 11
September 2022
Fig 5.8 Attempts with guides, 11 September
2022
Attempt #1
Followed the original shapes as close as possible while mildly keeping in mind the proportion of letters by taking reference from Gill Sans Std.
Fig 6.1 Attempt #1, 11 September 2022
Next, I worked on making sure the letters are more well-balanced. Changes on the stem of Y, T, F, the apex of A and the bottom part of V can be seen.
Fig 6.2 Attempt #2, 11 September 2022
Attempt #3
It lacks a sense of refinement so I tried smoothening out the strokes but also not too much so the letters do not lose their distinguished look. The jagged part on the stem of 'F' was removed.
Fig 6.3 Attempt #3, 11 September 2022
Attempt #4
However, I still think that more can be done. Thus, I have smoothened the strokes even much more in this attempt. I am careful with the letter V as I do not want it to look like a 'U'. It is very difficult to make the 'Y' look balanced while maintaining its original extracted shape.
Fig 6.4 Attempt #4, 11 September 2022
v. LETTERFORM EXTRACTION #2
After receiving my feedback, I started from a wobbly place as my extraction was not precise and there are more shapes that could have been extracted. I tried to be more precise this time.
Fig 7.1 2nd version traced letters, 14
September 2022
Fig 7.2 2nd version of extracted letterforms,
14 September 2022
vi. REFERENCE & DIGITALISATION #2
Attempt #1- #3
Figuring out a proportion that makes sense and removing shapes/ strokes that look too harsh.
Attempt #4- #5
Balancing the thickness of strokes and standardising the slant direction of the letters to the right. Further smoothened parts that are too pointy. Made the stem of 'E' almost similar to the stem of 'F' in the last attempt.
Attempt #6
vii. FINAL SUBMISSION
Task 1: Exercise 2 [Type & Play]
Fig 7.3 Univers LT Std (75 Black), 15
September 2022
Fig 7.4 Second attempts without guides, 15
September 2022
Fig 7.5 Second attempts with guides, 15
September 2022
Attempt #1- #3
Figuring out a proportion that makes sense and removing shapes/ strokes that look too harsh.
Fig 7.6 Attempt #1-#3, 15 September 2022
Balancing the thickness of strokes and standardising the slant direction of the letters to the right. Further smoothened parts that are too pointy. Made the stem of 'E' almost similar to the stem of 'F' in the last attempt.
Fig 7.7 Attempt #4-#5, 15 September 2022
After feedback, I applied sharper points to
some parts on certain letterforms as well as
made a major makeover to the J that was
deemed unsettling previously, due to the
slanting and the weird-looking tail.
Fig 7.8 Attempt #6, 21 September
2022
Task 1: Exercise 2 [Type & Play]
Part 1: Finding Type
Part 2: Type & Image
i. VISUAL RESEARCH
Looking at the possibilities of intertwining text with image.
ii. CHOSEN IMAGES
All photos were taken in Sandakan this year, during Chinese New Year. The lantern can be related to prosperity whereas the other two can be related to the renewal of life, both are themes for the Honours design competition.
iii. TYPEFACE EXPLORATION
Just slamming different typefaces on the images to see whichever suits the context and feeling.
Idea #1
I went with Century Schoolbook (Regular) because it has rounder and slightly thicker strokes which I think suits the shape of the lantern.
Idea #2
I went with Kalam (Regular) as it has a handwriting style that can complement the organic shapes of leaves in the trees.
Idea #3
I went with Century Schoolbook (Regular) because the strokes have a wavy motion to them which I think suit the motion of waves. However, I got a feedback afterwards that it is too decorative.
Fig 8.1 Compiled process, 24 September
2022
Fig 8.2 Original extracted letterforms vs
final type design, 24 September 2022
Fig 8.3 Final type design, 24 September
2022
Fig 8.4 Letter E, 24 September 2022
Fig 8.5 Letter N, 24 September 2022
Fig 8.6 Letter M, 24 September 2022
Fig 8.7 Letter F, 24 September 2022
Fig 8.8 Letter J, 24 September 2022
Fig 8.9 Type showcase, 24 September 2022
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Fig 8.10 Final Part 1: Finding Type in PDF, 24 September 2022
Task 1: Exercise 2 [Type & Play]
Fig 8.6 Letter M, 24 September 2022
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Fig 8.10 Final Part 1: Finding Type in PDF, 24 September 2022
Part 2: Type & Image
i. VISUAL RESEARCH
Looking at the possibilities of intertwining text with image.
Fig 9.1 Image from graphis.com, 25
September 2022
Fig 9.2 Campaign poster by BikeNYC.org, 25
September 2022
Fig 9.3 Image by Alisa Checheneva, 25 September 2022
Fig 9.4 Image by Chris Labooy, 25 September 2022
Fig 9.3 Image by Alisa Checheneva, 25 September 2022
Fig 9.4 Image by Chris Labooy, 25 September 2022
ii. CHOSEN IMAGES
All photos were taken in Sandakan this year, during Chinese New Year. The lantern can be related to prosperity whereas the other two can be related to the renewal of life, both are themes for the Honours design competition.
Fig 9.5 Photos taken by me, 27
September 2022
Just slamming different typefaces on the images to see whichever suits the context and feeling.
Idea #1
I went with Century Schoolbook (Regular) because it has rounder and slightly thicker strokes which I think suits the shape of the lantern.
Fig 9.6 Typeface exploration for idea
#1, 27 September 2022
I went with Kalam (Regular) as it has a handwriting style that can complement the organic shapes of leaves in the trees.
Fig 9.7 Type exploration for idea #2, 27 September 2022
Idea #3
I went with Century Schoolbook (Regular) because the strokes have a wavy motion to them which I think suit the motion of waves. However, I got a feedback afterwards that it is too decorative.
Fig 9.8 Type exploration for idea #3, 27 September 2022
iv. DEVELOPMENT
Idea #1
I changed the text layer to overlay mode to enable a see-through effect. Then, I used mesh to tweak the shape of the texts to fit the roundness of the lantern. I should have chosen the word 'culture' instead of 'prosperity'.
Fig 9.9 Progress of Idea #1, 27 September 2022
Idea #2
I tried to explore 3D effects in this idea as well as notice the direction of the light. I only knew afterwards that renewal does not directly mean nature.
Fig 9.10 Progress of Idea #2, 27 September 2022
This was made with the roughen tool and some parts are erased to create the look of a bush. It was not easy to balance the tone with readability.
Fig 9.11 Progress of Idea #3, 27 September 2022
I decided to progress with idea #1, change the word and create a shadow for the word to show that the lights are shining through the words embedded in the lantern. Both overlay mode and colour dodge are used in a low percentage amount. The shadow was created using gaussian blur.
Fig 9.12 Finalising Idea #1, 27 September 2022
v. FINAL SUBMISSION
Task 1: Exercise 2 [Type & Play]
Part 2: Type & Image
Fig 10.1 Final Part 2: Type & Image in JPEG, 5
October 2022
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Fig 10.2 Final Part 2: Type & Image in PDF, 5 October
2022
FEEDBACK
Week 5 [Ex2: Type & Play- Type & Image]
General feedback
- image needs to be an enhanced symbolic representation and
don't be too literal
- think if you will use it as wallpaper or not
- think if you will use it as wallpaper or not
Specific feedback
- for Idea #1, it is not memorable as the context and word interplay are suffering, and the words embedded need more work
Week 4 [Ex 2: Type & Play- Finding Type] - for Idea #1, it is not memorable as the context and word interplay are suffering, and the words embedded need more work
- for idea #2, the words are too decorative and the image
does not show renewal
General feedback
- Shapes are overly rounded, less rounding in certain parts
of the letterforms
Specific feedback
- The letter 'J' is a bit disconcerting, the tail needs some refinement
Specific feedback
- The letter 'J' is a bit disconcerting, the tail needs some refinement
Week 3 [Ex 2: Type & Play- Finding Type]
General feedback
- The extraction of shapes from the source image has to be precise or else I will be starting from a wobbly place
Specific feedback
- The folds and creases are not extracted well
- The greyish area should be captured as well
- The last attempt still does not look refined enough, it only looked more consistent in their strokes
- Form is not representative, sharp points are too sharp and not characteristic enough
General feedback
- In some circumstances, the 'am' and 'pm' should be smaller by 0.5pt to avoid causing too much emphasis on them
Specific feedback
Axial- interesting placement but the title should be right-aligned to follow the axis. The am/pm is jarringly big in order to make it more elegant, also move 'open public lecture' to the top left, doubling/tripling the spacing so it does not sink into other information
Radial- Fine
Dilatational- Fine
Random- Inclined to accept it and interesting
Grid- Good with exception of the widow on the bottom right text box
Modular- Acceptable
Random- Inclined to accept it and interesting
Grid- Good with exception of the widow on the bottom right text box
Modular- Acceptable
Transitional- Remove non-objective elements at the top
Bilateral- Has to be centralised
Week 1 [N/A] Public holiday
REFLECTION
Experience
It is interesting to understand structural systems because I am able to
imagine and associate them with certain patterns in my mind. I was initially
intimidated by the number of systems and also it was tough for me to create
unique ideas while still adhering to the systems correctly. My brain is
smoking at the end of this task. In Exercise 2, it was plain torture to me.
I admit that I got impatient with my own work and did not put much effort
into my first attempt, which led to a poor work. I did not like my work on
the first attempt either. However, after the 2nd attempt at least I felt
satisfied with my work as it looks more decent since I put more effort into
it.
Observations
Exercise 1 has a more complex theoretical material such as the
structural systems. Most of the previous batch's work is much more
complex and explorative than this batch of class including me (overall
what I see during tutorial sessions). So much to learn from them. After
completing Exercise 2, I subconsciously try to imagine an object that
could have inspired a font whenever I look at it, or even try to imagine
a font that can be created from any weird-looking object I see.
Findings
In Exercise 1, learning about the structural systems gives me a clear
direction on which aspects I can explore when arranging texts to create
different interesting layouts. A wide array of variations can be
derived in each structural system, giving me a bigger room to explore all
the creative possibilities while adhering to the chosen structural system.
Able to design layouts with solid theories supporting the design instead
of just doing it because I saw some designers post the idea on Pinterest
and it looked nice. In Exercise 2, I learnt that if I get impatient and
decide to just 'wing' my work, it will definitely show in my work how bad
the quality is.
FURTHER READING
Fig 6.1 'Typographic Systems' by Kimberly Elam, 1 September 2022
The usage of a literal circle shape in controlling the hierarchy of the
text placement by placing emphasis and tension to guide the eyes. It adds
an interesting flare to the composition.
Fig 6.2 The circle and composition, 2 September 2022
Usage of non-objective elements such as rectangular strokes, circles
or tone. Play with the width, thickness, proximity and negative space
would result in interesting compositions.
Fig 6.3 Non-objective elements, 2 September 2022
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