02.04.2019 (Week 1)

  Our lecture starts off with Mr Vinod giving a brief introduction to the module. We were also briefed about the coming exercise. We were also divided into groups to make a Google Slide that contain 5 slides on the typographic system given to each group. My group was assigned to work on the typographic system, random.

Lecture 2: Typographic Systems

09.02.2019 (Week 2)
  For this week's lecture, we learned about the different types of typographic systems. Each group is to present their appointed typographic systems. Below is the compilations of the presentations done by each group.

Lecture 3: - 

16.04.2019 (Week 3)

  There was no lecture this week as we proceed to work on our typographic system. By the end of the class, we were briefed about the the next exercise which was to take a photo and dissect it, which later we have to search for letterforms within the dissection. 

23.04.2019 (Week 4)
  For this week's lecture, we were to understand the brief history of the Roman alphabet. The lecture slides are presented by a group of classmates. Below is the slide prepared by them:

30.04.2019 (Week 5)

There were no lectures this week as we work on our exercises. 

07.05.2019 (Week 6)

This week's lecture is really helpful and it really urges me to do more further reading in order to enhance my skill.

Typographic Systems (Week 1 - Week 3)

  For this exercise, we have to create two designs for each typographic systems. The works shoudl contain the information Mr. Vinod posted in the Facebook group. After understanding the systems through presentations during class and research online, I began by drafting out sketches on my sketchbook. 

Embedded PDF of final compositions (Pages)

Embedded PDF of final compositions (Spread)

For this exercise, we were to find a photo/image and to dissect it. After that, we have identify the potential letterforms within the dissected image. An example done by our seniors was shown to us as a guideline and reference so that we have a better idea of the exercise. After trying to search for image in the camera roll of my phone, I decide to work on this image. 

Next, I proceed to refine the letterforms. I started off by adjusting the width and height of the letters. I used the typeface Futura Std Light to refer to when adjusting the letters. 

After getting feedback, I proceed to further refine the letters. With the feedback given, I need to discard some characteristics and to just maintain one characteristics, which in my case, might be the angles of the letters. 

Fig 2.22 Refined letter 'B' - 2nd Attempt

Fig 2.23 Refined letter 'K' - 2nd Attempt

Fig 2.24 Refined letter 'Q' - 2nd Attempr

Fig 2.25 Refined letter 'S' - 2nd Attempt

Fig 2.26 Refined letter 'Y' - 2nd Attempt

Fig 2.27 Process of refining the letters (2nd Attempt)

After getting feedback from Mr Vinod via Facebook, the letter 'K' and letter 'Y' is over refined and I have to keep the characteristics. I tried to retain back the angular characteristics of both of the letters by adjusting the inclination of the lines.

Fig 2.28 Refined letter 'K' - 3rd Attempt

Fig 2.29 Refined letter 'Y' - 3rd Attempt

Fig 2.30 Comparison of before and after refining.

After consulting the lecturers, I further refined the letters.

Fig 2.31 Final attempt of 'B'

Fig 2.32 Final attempt of 'K'

Fig 2.33 Final attempt of 'Q'

Fig 2.34 Final attempt of 'S'

Fig 2.35 Final attempt of  'Y'

Fig 2.36 Before (up) and after (bottom) of the letters

Embedded PDF

Type & Play: Part 2 (Week 5)

Fig 3.0 First chosen image to work with.

Initially I wanted to use the phrase 'Up, up and away!'. However after telling Mr Shamsul this idea, he asked me to search for a phrase that is more interesting. Therefore, I try to search for a better phrase and I found the phrase 'Let your dreams take flight'. 

Fig 3.1 Experimenting with the exercise.

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Feedback

Week 2

The font size for the contents should be kept between 8-12pts. For dilatational, the text should be around a perfect circle, not ovals. For modular, the text should kept within the box for every content and can be moved. Mr Vinod also said that I should exaggerate more in my random compositions. I should also keep my compositions within the margins.

For the modular system, Mr Vinod said that the boxes should made up of the same size. I should explore more for the composition for dilational as it's dull. He said that my works are quite conservative and I should explore and exaggerate more.

Mr Vinod commented that there are too many characteristics in the letter and I should discard them and focusing on just one of the characteristics. He also suggested that it will be better if all the letters are of the same angle if I were to emphasize the angular characteristics of the letters. I should also align the letters as I refine them so that I know how much I refined. 

For the second part of the exercise, Mr Shamsul reminded that the choice of image and phrase should be interesting. The choice of phrase should also be able to reflect the image. 

Online Feedback: There are letters that are very refined and other that are not. Keep in mind, that the characteristic of the source must be present in all letters. 

Week 6
For the letters, Mr Vinod commented that 'K', 'Y' and 'S' are quite good, however I need to work more on letter 'Q' and 'B'. He also said that I should keep the dimensional characteristic for the letters.

On the second part of the exercise, Mr Vinod commented that the composition isn't exciting and I only done the basic requirements of the exercise. From my choice of image, Mr Vinod suggested that I can Photoshop the image to create a sense of depth with the circular properties of the image. I should also play around with the typographic system learned.

Week 1

It was quite inspirational to listen to Mr Vinod sharing his experience and the how to have originality in your work. I like how he said that originality comes from within, from who you are and how you observe things. Even though its just a sharing, but I think I gained a lot from it. 

Week 2

I am actually quite stress because I can't make out any good compositions for some of the typographic system. It was also quite devastating that the feedback I typed into the feedback was gone the moment I finish typing it. Apparently there's a change in the name list of the feedback sheet while I was typing it and I typed in the wrong box. 

Week 3

I am still confuse between the typographic system modular and grid, as they're quite similar in my opinion. I can't seem to grasp the messiness and how to exaggerate the randomness in random. 

Week 4

After the explanation done by Mr Vinod, my confusion toward modular and grid is lessen. I feel like I'm having a race against time as there's so much to do yet so little time. I need to have proper time management. 

Week 5

The exercises are quite interesting especially for the second exercise for type & play. However, I had a hard time finding good images as well as phrases that are interesting. I tried going for puns only to failed badly.

Week 6
I'm actually quite happy when Mr Vinod said that my letters is almost there, which boosted my confidence and motivation. However, finding the right and interesting image for the type and play part 2 is quite hard, especially when I wanted my images to have lesser Western feels in them. 

Week 1

I notice that this class might need a lot of observation skill and research to do when doing the assignments. To reach 'originality' in our works, instead of just referring to online reference, we should observe our surroundings, even the little things you observe may spark something in you.  

Week 2
I observe that while some typographic systems are quite similar (grid and modular), there are some difference among them which is hard to grasp when working on the composition. 

Week 3
I noticed a lot of classmates has really good composition as I walk around. They have a really good use of non-objective elements as well as colors in their composition. They manage to exaggerate their composition while not being too overwhelming. This is something I need to learn.

Week 4
I observe that the photo chosen to be dissect doesn't have to be something that is too complicated. As time is rushing, might as well work smart. 

Week 5
I notice that everyone has different styles based on the image they pick for the Type & Play exercise. Its also quite hard to find the perfect image that I wanted to work on, as well as getting interesting phrase to input in the composition.

Week 6
I observe that it is really running out of time and I should work faster while not losing the quality. Working smart is a must. 

Week 1
After listening to what Mr Vinod said, originality doesn't just come from the net, it also emerges around us or even within us. While it is really easy to search for inspiration nowadays with the use of internet, we tend to forget the little things around us which made us, 'us'. 

Week 2
I realized that in creating a composition that deals with typography comes with different types of systems which is quite interesting. Even so, those systems act as a guideline and not something that restrict us in creating a composition. 

Week 3
I found out that a lot of small details made up the typographic systems and I should take note of them. 

Week 4

Week 5

Even though it's not easy doing the Type and Play exercise, but I realized how important observation skills is to a designer. Being original doesn't mean that you shouldn't refer to reference, but instead you should refer in order to understand how to create a balance in your composition.

Week 6
I realized that finding an interesting image and a suitable phrase for it isn't as simple as it seems to be. I should really think out of the box in order to make my composition more interesting. 

Typographic Systems by Kimberly Elam

Fig 4.0 Book cover for 'Typographic Systems'.

Chapter 4: Random System
  In this chapter, it explains the use and how do we implement the random system in our designs. The author defined the random system as consists of elements that are arranged without definite aim, pattern, direction, rule, method or purpose. The work is often begun by scattering elements in the composition field with free abandon. However, success is more frequent with when legibility diminishes with cropping, overlapping, and placing texts at odd angles.

  A few examples, for example the Ba-Tsu 1994 poster is shown with explanations of the design is given to the readers.

Fig 4.1 The Ba-Tsu 1994 Poster by Makoto Saito

  The random system can be achieved with several elements, namely:
1. Type only - Readability of the message is often greatly diminished.
2. Nonobjective elements - To be able to enhance random compositions through diversity of shapes.
3. Shaped background - A shaped background with unexpected angles increases the complexity of the composition.
4. Repetition - These works explore pattern and texture as compositional elements.

Chapter 7: Modular System
In this chapter, it introduces the modular system. The modular system is dependent on standardized non-objective elements or units that act as a ground to hold and contain text. The idea is to standardize the unit on which the typography rests and then compose the message with the modules.

Several examples of poster using the modular system is then shown. The modular system used by Philippe Apeloig's in his Bresil (Brazil) poster interested me. This is because it doesn't look modular, yet if you look closely, it is.

Fig 4.2 Philippe Apeloig's Bresil (Brazil) Poster

There are different ways to create the modular system:
1. Circle Modules - Two types of examples were shown, which is by using informal compositions and regimented compositions.
2. Square Modules - A few examples that has a strong relationship to the grid system and composition with an irregularly placed square module were shown.
3. Rectangle Modules - Long rectangles readily correspond to the shape of lines of text and feel comfortable as modules for the type. Variations can also occur in a composition of rectangles.
4. Transparency - Compositions become more complex when rectangular modules are both free-floating in space and transparent.


Typography Workbook: A Real World Guide to Using Type in Graphic Design by Timothy Samara

Fig 4.3 Book cover of Typography Workbook

Chapter C: Expressing the Unspoken - Integrating Type and Image

Even though, I read this book during first semester, but then I was more focus on the chapter on posters. I pick up this book again as it has contents that is related to the exercise we're doing.

In this chapter, it introduces on how designers can create a connection between the imagery and the typography. Bringing words and pictures together means finding a visual harmony between them that best arguments the reading of the text, while also adding conceptual dimension to the image. A lot of different examples were shown throughout the chapter.

Interactions between words and pictures happens as a result of their similar abstract, pictorial qualities. The task is to find the where the specific attributes come together. Silhouetted images -- whose contours are free from enclosure in a rectangle -- share a visual relationship with the rag of paragraphs or columns, but also share an opposing relationship with their alignments.

Similarities between type elements and pictorial elements make a strong connection between the two. Alternatively, relating typographic elements to images by contrasting their visual characteristics is also a viable way of integrating them.


Thinking with Type by Ellen Lupton

Fig 4.4 Book cover for Thinking with Type.

Chapter: Typeface Design
  In this chapter, it discusses on how a typeface is designed. There are two steps before you move on digitizing the letters:

1. To define a basic concept.
Ask yourself some questions. Will the letters be serif or sans serif? Will they be modular or organic? Will you construct them geometrically or base them on handwriting? Will you use them for display or for text? Will you work with historic source material or invent the characters more or less from scratch?

2. To create drawings
Begin by drawing a few core letters, such as 'o', 'u', 'h', and 'n', building curves, lines, and shapes that will reappear throughout the font.