Advanced Typography/Task1

Advanced Typography-Task1/EXERCISES

-April16,2024

24/04/2024 - //2024 ( Week 1 - Week 4 )

Wang Yifan/ 0368363

Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University

Task 1 - Exercise 

TABLE OF CONTENTS

1. Lectures

2. Instructions

3.Exercise

4.Feedbacks

5. Further reading

6. Reflections

Week 1: Organizing Typography

Lectures

(Prerecorded lectures on YouTube)

Typographic systems: 

There are eight major patterns of typographic systems, an infinite number of permutations. It is for fundamental of design and the structural system.

Typography is a complex system where each element relies on others for effective operation. Additionally, factors such as hierarchy, readability, sequencing, and contrast play crucial roles.

The principles of typographic systems bear resemblance to what architects refer to as "shape grammars." Much like shape grammars, typographic systems entail a unique set of rules that serve a specific purpose, guiding and focusing decision-making processes.

Axial

Radial  

Dilatational

Random

Grid

Modular

Transitional

Bilateral

Axial Systems

All elements are being organized to the left or right of a single axis. Information are divided into groups and it is placed in different angle or different sides of the axis. It can be various axes, can be vertical or bend. On the next exercise, we need to use single line and information can be placed on either side of that single line. 

Axial System Examples, Week 0, (17/4/2024)

Radial Systems

All element are being extended from a point of focus, all the elements are spread out according to that particular point of focus. All the sentence are pointing towards that point of focus and so that constitutes radial. 

 Radial System Examples, Week 0, (17/4/2024)

Dilatational Systems                                                     

All systems expand from a central point in a circular manner, we can have multiple circles with information on either sides or in line with those circles, it can also be placed in a hierarchical manner where the most important probably takes precedence or maybe even the outer rings or inner rings of the circle and subsequently, the lesser important information is in the outer range and so on. We can also divide them into groups of information and then place them on the different rings based on your hierarchy or reading rhythm for that particular text. Dilatational can be simple but also complex organization of information. 

                                                     Dilatational Systems,Week 0 (17/4/2024)

Random Systems

No specific pattern or relationship. People that are very well organized tend to find great difficulty in adapting in this system, it does take a certain level of effort to be eventually get it done. Although it is random, there is a method in the chaos that is created within the page. 

Random System Examples, Week 0, (17/4/2024)

Grid Systems

This is fairly common because everyone uses it. Usually there are different size and shapes all to create emphasis and hierarchy. 

Grid System Examples, Week 0, (17/4/2024)

Transitional Systems

An informational system that is layered in bending (segregating information within certain bends). The headlines will remain within the larger in one bend, and then you have the middle amount of text in another bend. Other information will be in different bend.

 Transitional System Examples, Week 0, (17/4/2024)

Modular Systems

The units have to be standardized, they have to be the same size. The reason for that is because if it is known as modular, modular allows you to move the individual units to different portions of the page. It can do so because the units are standardized. We can also use two different unit structures.

 Modular System Examples, Week 0, (17/4/2024)

Bilateral Systems

All text is arranged symmetrically in a single axis. Usually are being use in invitation or other type of formal invites. It can get pretty tedious at times (can get boring sometimes) but it depends on how you use it. It can also be bend.

Bilateral System Examples, Week 0, (17/4/2024)

Synopsis: Numerous designers tend to concentrate solely on network system design, overlooking the possibilities offered by alternative systems. Grasping the organization of these systems can liberate designers from the confines of conventional grids, facilitating the creation of more varied and fluid printed materials.

Summarize, Week 0 (April 24, 2024)

InDesign Formatting : 

Mr Vinod taught us how to prepare to create with InDesign. I could learn some tool details as well. For this, I could know how to put the page next one. Also, I just learned about InDesign again with studying about margin.

Screen shot of learning how to move page(17/04/2024)

 Screen shot of learning about margin(17/04/2024)

For this, it shows changing figure size. I was really surprised this that looks better than normal. I learned about change "–" and "-" as well.

Screen shot of learning make figure shortly(17/04/2024)

Exercise Typographic systems: 

I could know about modular system a lot from this lecture. It can show the design clearly and nice with knowledge of this basic.

Screen shot of learning about modular system(17/04/2024)

Screen shot of learning how to organize it(17/04/2024)

Week 2

Principles of Design Composition

Abstract notions such as isolation, repetition, symmetry, and perspective, to name a few, are generally more applicable in visual imagery than textual info.

Fig 2.1: Example of using emphasis within typographic composition

Some principles are more easily translatable than others, such as emphasis.

The Rule of Thirds

A photographic guide to composition that suggests a frame can divided into 3 columns and 3 rows. The intersections are a guide to place points of interest within a given space.

Fig 2.2: The Rule of Thirds applied to textual information

Typographic Systems

The 8 systems covered in the previous lecture. The Grid System (or the German Raster System) is the most pragmatic and used system (derived from Letter Press printing).

Though seemingly old and rigid, its versatility allows an infinite number of adaptations. It complements our inherent need for order when reading.

Fig 2.3: Compositions using the Grid Systems

Postmodernist typographic systems incorporated randomness, chaos, and asymmetry at the cost of legibility and readability, to bring visual excitement. The best designs involve a good balance of legibility and visual excitement.

Fig 2.4: Example artworks of Postmodernist Typography

Other Systems

Environmental Grid:

This system is based on the exploration of an existing structure or numerous structures combined.

Structure here can mean architectural, paintings, interior (basically anything that creates structure). 

An extraction of crucial lines (both curved and straight) are formed. The designer organises his info around this super-structure (which includes non-objective elements).

A manner of exploration which provides context to the forms developed in the design i.e. the system/structures were developed around key features of an environment associated to the communicators of the message.

Fig 2.5: Developing compositional framework using other structures

A reductionist approach is taken where the info is then placed within the reduced framework. Framework is informational and has non-objective elements of that particular space.

Form and Movement

A system developed by Mr. Vinod himself which is based on the exploration of existing Grid Systems. The placement of a form (irrespective of what it is) on a page, over many pages creates movement. 

Whether page is paper or screen is irrelevant.

Variation is required to keep readers/viewers engaged as predictability becomes boring. Static versions of the form are placed in the spread. A connection is maintained between one spread and the next. Forms could represent images, text or colour. As long as there is a sequence to the viewing of a particular page, a sense of excitement is created. 

 

Fig 2.6: Sequential compositions using the Grid System (follows from one spread to the next)

The level of complexity increases as newer elements are introduced in an incremental fashion: addition of one colour, then image,, the dummy text, and so on. 

Fig 2.7: Progressive addition of elements into sequence

Start by using dummy forms, then eventually replace with real elements that you intend to use. 

Week3 :Context and Creativity

This address educates us around primarily how the consider of old scripts makes a difference change into a present day specific sort and the imperativeness of learning the setting of transcribed scripts.

A study of handwriting and typography

By considering penmanship we are able see how the primary mechanically delivered letter shapes were outlined to straightforwardly mimic penmanship. Script got to be the basis or standard for the shape, dividing, and traditions that mechanical lettering endeavored to mimic. In this manner, a more profound understanding of the advancement of penmanship can offer assistance us get it the advancement of mechanical lettering and why particular glyphs and courses of action were embraced.

The development of Western calligraphy

Cuneiform → Hieroglyphics → Early Greek (Phoenician alphabet) → Roman Uncial → English Semi-Uncial → Charlemagne (standardized handwriting style: Carolingian lowercase) → Blackletter → Italian Renaissance Period → Movable type printing.

fig3.1  Cuneiform and Hieroglyphics,Week 3 (8/5/2024)

Mobile sort printing could be a truly critical advancement that was to begin with created in China but was realized in Korea. It is accepted that mobile sort printing to begin with showed up between 1000 and 1100 Advertisement, and the Precious stone Sutra is one of the early works of this innovation. After that, the Koreans set up a foundry between 1300 and 1399 Advertisement, utilizing bronze materials to cast mobile sort, and realized the generation of mobile sort printing.

Fig3.2 Movable type,Week 3 (8/5/2024)

The Development of Oriental Calligraphy

The improvement of oriental calligraphy could be a long and wealthy authentic prepare, which encapsulates the shrewdness and aesthetics of oriental culture. But the colonial run the show of the East by the West has brought challenges to the advancement of its legacy, social conventions, writing, expressions and creates, dialect and composing.

In South Asia, the development of composing within the Indus Valley Civilization (IVC) (3500-2000 BC) is considered one of the most seasoned works within the "Indian" locale.

Fig3.3 Indus Valley Civilization Script,Week 3 (8/5/2024)

Brahmi script (450-350 BC) was one of the most punctual composing frameworks that created after the Indus script. It is one of the foremost compelling composing frameworks in history, and all advanced Indian scripts and hundreds of scripts found in Southeast and East Asia are determined from Brahmi script.

Fig3.4 Brahmi,Week 3 (8/5/2024)

Fig3.5 Brahmi,Week 3 (8/5/2024)

The first writing system in Southeast Asia comes from scripts from India. One of the most important scripts is Pallava, which was used in South India to write Sanskrit and Tamil.

Pra-nagari is an early form of Nagari script, used in India to write Sanskrit.

Fig3.6 Pra-nagari,Week 3 (8/5/2024)

The word Kawi comes from the Sanskrit term kavya meaning poet.The interesting thing about Kawi is that it was the script used for contact with other kingdoms. Because it was so widespread, Kawi became the basis of other scripts in both Indonesia and the Philippines.

This means that ancient kingdoms in of the Malay Peninsula would have been using both Indian scripts and Kawi to write old Malay language.

Fig3.7 Laguna copper plate inscription,Week 3 (8/5/2024)

Indonesia has many old ways of writing. We will study the writings of the groups that became part of the Peninsula Malay communities.

Researchers have suggested that there was an old writing system in Sumatra that came from Gujerati, which influenced the writing on the island during medieval times.

Incung is the first writing system used in Kerinci. It came from a script called Rencong in South Sumatra.

Fig3.8 Incung,Week 3 (8/5/2024)

Other writing systems from different cultures have been combined with the peninsular Malay communities in Indonesia. This includes Rajang, Batak, Bugis (Lontala) and Javanese writing systems.

Jawi is the Arabic alphabet introduced with the introduction of Islam.

Fig3.9 Jawi,Week 3 (8/5/2024)

In today's Malaysia, Jawi is very important because it is the writing style used for all our famous books and stories. Malaysia doesn't have many old Jawi writings like Indonesia. Some people think Jawi is the original Malay script, but that's not true for Malaysia.

Fig3.10 Jawi,Week 3 (8/5/2024)

Programmers and Type Design

Big companies like Google are hiring many Asian programmers and designers to make more fonts in different languages. These fonts were made to help people use both vernacular and Latin scripts to talk to each other.

In Malaysia, a website called murasu. com, created by programmer Muthu Nedumaran, has made a new system that lets people use different writing systems on their phones and computers.

Also, a group of designers in Malaysia called Huruf focuses on creating fonts that are unique to the local culture. They make Latin and local alphabets for signs and walls.

Fig3.11 Baloo, a multi-script font for Ek Type,Week 3 (8/5/2024)

Local movements and individuals

In India, groups like Ek Type and Indian Type Foundry have done great work creating new fonts and helping India use digital technology. They have made a big impact on India's digital world and helped make new fonts popular again. These groups are dedicated to making fonts that can be used for many languages and to help people from different language groups communicate and preserve their cultural traditions in India.

Week 4:

AdTypo_4_Design Type

Introducing his typeface Malaga, Xavier Dupré proposed two reasons for designing typefaces: First, typeface design carries a social responsibility and therefore must constantly improve its legibility to ensure that people can easily read and understand text.

Frutiger is a sans serif typeface designed in 1968 by Swiss type designer Adrian Frutiger specifically for the new Charles de Gaulle International Airport in France. He conducted tests with unfocused letters to determine which letter forms could still be recognized in poor lighting or when readers moved quickly past the logo. c

Fig 4.1 Frutiger,Week 3 (May 13, 2024)

Verdana is a typeface designed specifically for the screen by the famous type designer Matthew Carter, commissioned by Microsoft. This design was originally designed to provide better readability and clarity on computer screens. Taking into account the peculiarities of screen displays such as low resolution, small font sizes and varying viewing distances, Verdana's design focuses on the clarity and legibility of letters.

Fig 4.2 Verdana ,Week 3 (May 13, 2024)

Fig 4,3 Hints of Verdana,Week 3 (May 13, 2024)

, Bell Centennial is a special font commissioned by AT&T for use in its phone books. The goal of this design was to solve the ink spreading problem that occurs when printing at high speeds on low-quality paper, which is particularly common in the printing process of phone books.

To combat this, designers introduced ink traps in the Bell Centennial font. Ink trapping is a design technique designed to leave tiny gaps or depressions at the junctions or corners of glyphs to hold more ink when printing, thereby preventing the ink from spreading.

Fig 4,4 Comparison - Fonts vs. Typography ,Week 3 (May 13, 2024)

Johnston Sans was designed by Edward Johnston for posters and signage on the London Underground. When he designed this typeface, he tried to blend the proportions of a classical Roman typeface with the warmth of a humanistic touch.

Johnston Sans was originally called the Underground font because it was designed for the London Underground system. This typeface is known for its simplicity, clarity and legibility, making it particularly suitable for use in places such as posters, signage and subway wayfinding systems.  

Fig 4.5 London Underground exit sign Type,Week 3 (May 13, 2024)

Fig 4.6 Thickness contrast,Week 3 (May 13, 2024)

The general process of type design is as follows:

1. Research:

• Learn about typeface history, structure, conventions, terminology, sideways, metrics, tips, and more.
• Determine the purpose of the font.
• Check existing fonts/ETC currently used for inspiration/ideas/reference/context/usage patterns.

2. Sketch:

•  Sketch using traditional or digital toolsets, depending on the designer's choice.

3. Digitalization:

• Digitize using software such as Adobe Illustrator, FontLab, Glyphs App, etc.
• Check letter forms and inverse forms to ensure the font is readable.

4.Test:

• Refine and correct various aspects of the font.
• Prototyping is part of this and provides important feedback.

5. Deployment:

•  Deploy the font and be aware of the possibility of revisions, as unforeseen issues may arise after the prototyping and testing phases.

The following considerations are also important when designing font structures:

• The use of a grid (with circular forms) can facilitate the construction of letter forms.
• The construction and arrangement of letters should follow the principles of vision correction, such as uniformity of overshoot and character spacing.
• The 26 characters of the alphabet can be divided into groups based on form and structure, with a distinction between uppercase and lowercase groups.
•  Circles and triangles tend to appear slightly larger than squares of the same height.

Fig 4.7 Font in grid,Week 3 (May 13, 2024)

Vision correction in type design, classified by form and structure:

• Overshoot: The curved or raised shape of a letter extends beyond the baseline and cap lines of the letter.
• Character spacing: The distance between letters should be the same to ensure visual balance and consistency throughout the word.
• Circles and triangles tend to appear slightly larger than squares of the same height.

Fig 4.8 Shape comparison chart,Week 3 (May 13, 2024)

INSTRUCTIONS

Task 1: Exercise 1 - Printing SystemTask Info

We are required to select a piece of content provided in the MIB and create 8 designs that correlate to each typographic system (axial, radial, dilatational, random, grid, transitional, modular, bilateral).

In this exercise we are asked to:

• Open InDesign: Create a new document and set the dimensions to 200 x 200 mm.
• Set color
• Draw basic shapes
• Explore different systems: According to the content given in the MIB, try to explore 8 systems in the design, including axial, radial, expansion, random, grid, modular, transitional and bilateral. These systems can be implemented by adjusting properties such as the arrangement, size, color, etc. of shapes.
• Watch the InDesign demo video
• Add secondary graphic elements
  

The content is shown below:

Selected content

EXERCISE

3. 1 Exercise 1: Printing System

Idea exploration 

So for this task, I did without some sketches because I wanted to focus on typographic system clearly and directly. When I came up my idea, I just explored it as well. It was really fun to create eight type of design. To add, I supposed that this task is really important for designer to create some such as poster.

In the Axial system, I make the axes vertical or tilted. When designing an Axial layout, I need to consider the position, size, alignment, and relationship of elements on the axis to ensure the balance and visual appeal of the overall layout.

Fig. 1.1 Axial system Week 1  (27/04/2024)

In Layout 1, I used guidelines from the circle's center to create a spiral cross pattern for the text. In Layout 2, I extended text lines from focal points using a grid. Both layouts ensure space is used effectively to avoid overcrowding.

Fig. 1.2 Radial system Week 1  (27/04/2024)

In my initial layout, I began from the central origin and expanded outward, radiating around the central dot. In the second layout, the content is distributed around the dot, with some text flipped for improved legibility and flow. As for the third layout, I opted for multiple half-circle placements. Additionally, I highlighted key text by bolding and coloring it to enhance readability and understanding for readers.

Fig. 1.3 Dilational system Week 1  (28/04/2024)

In addition, I employed layering techniques with text of varying colors to enhance visual interest. In the initial layout, italicized text and adjusted letter and number sizes were utilized to dynamically convey information. It's important to note that numbers play a crucial role in conveying data. In Layout 2, text forms were arranged from light to dark, creating a visually appealing stack.

Fig. 1.4 Random system Week 1  (24/04/2024)

using a grid dual vertical axis symmetrical layout can help achieve symmetry and balance. This layout ensures that content is visually evenly distributed.

Fig. 1.5 Grid system Week 1  (28/04/2024)

I thought of the theme of circles.

Fig. 1.6 Modular system Week 1  (28/04/2024)

In the layout, I experimented with layering text alongside horizontal lines, gradually transitioning from context to body text. Initially, this approach appeared too uniform. Following feedback from my teacher, I made minor adjustments, aiming to strike a better balance between text and whitespace. As a result, the layout now features multiple lines of text interspersed with wavy graphic elements. However, upon review, I realized there may be an excessive number of wavy elements, causing the text to appear less clear and legible.

Fig. 1.7 Transitional system Week 1  (28/04/2024)

In the initial layout attempt, a central vertical axis was employed, whereas Layout 2 featured two vertical axes. However, in response to feedback requirements, I developed a new layout for the two-sided system, ensuring that all elements were arranged around a single central axis.

Fig. 1.8 Bilateral system Week 1  (28/04/2024)

Final Outcome for Task 1: Exercise 1

Final Axial System (JPEG), Week 4 (15/5/2024)

Final Radial System (JPEG), Week 4 (15/5/2024)

Final Dilational System (JPEG), Week 4 (15/5/2024)

Final Random System (JPEG), Week 4 (15/5/2024)

Final Grid System (JPEG), Week 4 (15/5/2024)

Final Modular System (JPEG), Week 4 (15/5/2024)

Final Transitional System (JPEG), Week 4 (15/5/2024)

Final Bilateral System (JPEG), Week 4 (15/5/2024)

Final Submission

PDF without guides  Week 1

PDF with guides  Week 1 

3. 2 Exercise 2: Typing and Games (Find Types)

Part 1: Find the type

During the image search task in Week 3, our objective was to choose an image depicting either a man-made object (such as a chair or glass), a structure (like a building), or a natural object (such as a human figure, landscape, leaf, or plant). Subsequently, we were required to extract letters from the selected image and assemble them into words whenever feasible. This exercise aimed to enhance our capacity to observe images attentively and uncover concealed textual components within them.

When looking for picture materials, I found a picture similar to building material plaster, so I decided to use this extraction text system.

The third week of the selected picture

Letter extraction:

I extracted the letters "A", "R", "T", "Y", based on the texture of the water surface

Extracting letters  

letters on guide

Reference font： Bembo Std BemboStd-ExtraBold

                                                                                      Modify font

Final letterforms Week 2  (03/05/2024)

In the end our fonts were going to be used in a poster. At the beginning I showed it to Mr. Vinod and He recommended that I fine-tune the spacing between text elements, noting that my font appeared overly condensed. Furthermore, he pointed out asymmetry in the spacing of my poster font, prompting me to make adjustments to achieve better symmetry. As a result, I made modifications to the font formatting to address these issues.

I use reference lines to unify the visual size of all movie logos, and arrange them neatly with consistent spacing.

                                               llustration poster making process Week 3  (06/05/2024)

My poster design uses the ocean as the backdrop, aiming to highlight the importance of marine life. I've employed a creative technique using word-formed water ripples to emphasize marine creatures, which is not only visually appealing but also deeply meaningful. If there's a need to adjust certain elements or text, or if I'm seeking suggestions to further enhance the design, I would be very open to feedback and advice.

original poster design

However, based on the feedback from my teacher, there are several areas that require improvement. Specifically, the spacing between the fonts needs to be adjusted to ensure clarity and aesthetics. Additionally, there are issues with the font color and overall layout, which do not harmonize well with the design's theme. It has been suggested that I revise these elements by providing adequate space for layout design and by choosing font colors that better complement the overall design. This adjustment will help enhance the visual impact and readability of the poster.

Therefore, I changed the font color as an adjustment.

Change the font

Therefore, I changed the font color as an adjustment. After making these revisions, I have completed the updated version of the poster. This final design now features improved font spacing and a more harmonious color scheme that aligns with the theme of marine life. The layout has been adjusted to ensure that there is ample space for the text to breathe, enhancing the overall readability and visual appeal of the poster. These changes have successfully addressed the initial concerns raised in the feedback, resulting in a more effective and aesthetically pleasing presentation of the ocean's importance.

Discovery type poster final version

Finding Type poster size: 1024px X 1024px, 300ppi

FEEDBACK 

Week 1:

Overall Feedback:

Provide concise and detailed explanations regarding your ePortfolio design process, elaborating on each step. Ensure each piece of work is clearly named and described, offering insights into your design decisions and techniques.

Week 2:

Overall Feedback:

You were tasked with arranging eight typesetting module designs using the eight downloaded fonts, demonstrating your understanding of typography principles.

Specific Feedback:

While your designs are functional, some appear rather ordinary, suggesting a need for deeper exploration of the design system and more creative approaches.

Week 3:

Overall Feedback: 

Specific Feedback: 

Your design process documentation could benefit from additional detail, particularly in demonstrating the steps involved in font changes. Moreover, the final font choice failed to effectively convey the intended cracked effect, indicating a need for further experimentation and refinement.

Week4 

General Feedback: Incorporate background elements that are thematically aligned with the content and font of the poster, and make necessary adjustments to the size and placement of the logo image to enhance overall visual coherence. Specific Feedback:

Take care to meticulously adjust the spacing between font characters, aiming to optimize readability and visual appeal. Additionally, consider intensifying the gradient effect of the font to add depth and dimension, thereby capturing the audience's attention more effectively.

FURTHER READING 

"Typography Referenced" is an authoritative reference book on typography design, collaboratively written by Jason Tselentis, Allan Haley, Richard Poulin, Tony Seddon, Gerry Leonidas, and others. The book covers a wide range of typography topics and aims to provide comprehensive guidance and resources for designers, typographers, and related professionals.

The content of "Typography Referenced" can be further expanded as follows:

1. History and Development: This section may cover the evolution of typography from ancient manual typesetting techniques like Egyptian hieroglyphs and Roman lead typesetting to the advent of modern printing during the Industrial Revolution and the emergence of digital typography in contemporary times.

2. Typography Design: A detailed exploration of different typeface families including serif fonts (e.g., Times New Roman), sans-serif fonts (e.g., Arial, Helvetica), and handwritten fonts. It would describe their characteristics, design principles, and the anatomical structure of typefaces, such as baseline, x-height, and letter spacing.

3. Principles of Typography: An in-depth discussion on various design principles and techniques like the use of grid systems, the golden ratio, visual hierarchy, and contrast. This section would explain how these principles contribute to the aesthetics and functionality of typography.

4. Printing Technologies and Techniques: This could include an overview of various printing technologies such as offset printing, letterpress, and flexography. It would detail their operational principles, advantages, disadvantages, and their application in typography design.

5. Digital Typography: An introduction to digital tools and technologies like Adobe InDesign, QuarkXPress, and Adobe Illustrator. This section would discuss how these tools are used, their functionalities, and also touch on the evolution of web design tools and mobile app typography.

6. Typography and Visual Communication: This part would analyze how typography influences the visual experience and the communication of information through elements like color, layout, and shape. It would also discuss designing typography with consideration to the target audience and communication goals.

7. Case Studies: This section would present a range of typography design cases from books, magazines, to advertisements. It would showcase different styles and approaches, analyzing the principles, techniques used, and what makes them successful.

8. Typography Tools and Resources: It would provide information on various typography tools, offering usage tips, and suggest resources like websites and reference books to aid readers in applying their typography knowledge effectively.

Overall, "Typography Referenced" aims to equip readers with extensive knowledge and practical skills in typography design, enhancing their ability to succeed and refine their craft in the professional field.

REFLECTION 

Experience:

During the first two weeks of working on typography system layout design in InDesign, I realized the significance of maintaining consistency and efficiency throughout the design process. While developing a typographic system, I encountered some difficulties in creating a cohesive layout that adheres to established rules and guidelines. Experimenting with different typographic systems and adjusting various layout options allowed me to strike a balance between readability and visual appeal.

Result:

I gained an understanding of the importance of typographic systems and design principles in creating effective layouts. This process allowed me to explore a wide range of possibilities.

Experience:

Typing and Games (Find Types)

In this exercise, we started with a seemingly unrelated image and transformed it into letter forms. Before extracting the letters, it was crucial to carefully observe the unique shapes and curves within the image. The extracted letterforms needed to retain certain elements to ensure they remained recognizable and consistent with the overall design.

Observe:

When analyzing the image, you need to pay attention to the pattern and details of the pattern. The font I extracted is a detailed buckle, but I found that the scope can be expanded.The extracted curved (bubble-like) letterforms showed the possibility of them being curved in a more consistent way, so I developed this element as the main style of the letterforms.

Result:

Through these two exercises, I gained a deep understanding of the importance of consistency and efficiency in the design process, and I became aware of the impact of different typographic systems and design principles on creating successful layouts. Using InDesign allowed me to explore and implement various design ideas, learning how to maintain balance and visual appeal in visual communication. Particularly in the second exercise, challenging myself to extract and create letterforms from images improved my attention to detail and creativity. Overall, these exercises not only strengthened my technical skills but also developed my design thinking.