Advanced Typography - Task 1 : Exercises
22.04.2024 - 15.05.2024
Graciella Limpah / 0364517
Week 1 : Typographic System
Advance Typography / Bachelor of Design (Honours) in Creative Media /
Taylors University
Task 1 - Exercises 1 and 2
JUMPLINK
LECTURES
According to Elam, 2007, there are eight major variations with and infinite number of permutations. Here are the eight major variations :
-
Axial : 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.
fig 1.1.1 Axial System
-
Radial : 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.
fig 1.1.2 Radial System
-
Dilatational : 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.
fig 1.1.3 Dilatational System
-
Random : 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.
fig 1.1.4 Random System
-
Grid : This is fairly
common because everyone uses it. Usually there are different size and
shapes all to create emphasis and hierarchy.
fig 1.1.5 Grid System
-
Transitional : 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.
fig 1.1.6 Transitional System
-
Modular : 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.
fig 1.1.7 Modular System
-
Bilateral : 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.
fig 1.1.8 Bilateral System
By knowing these systems, it allows you some distinctiveness in the approach towards placing information on a page. Although not he first sight it may look awkward, but as work develops and understanding of the systems emerges whereby its creative potential is less awkward. By understanding this system organization process allow the designer to break free from "the horizontal and vertical grid systems."
There are many ways to approach composition. In typography, there are two aspects, typography pertains to the letters, typography pertains to the arrangement of large amount of text within the given space.
When we think about composition, we think about the dominant principles underpinning design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective to name a few. However, these abstract notions seem ambiguous when it comes to translating it into typographic layouts or composition. They seem more relevant to imagery than complex units of information that consists different elements. The idea mentioned and the application of these ideas into real-life content (images, textual information, and color) on a page or screen can sometimes feel disparate. That said, some of these principles are a little more easily translatable than the others.
|
| fig 1.2.1 Emphasis on Typography |
Notion like repetition, perspective are harder to make it into typographic
composition. They are usable, but not easily usable.
The Rule of Thirds
The Rule of Thirds is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the points of interest, within the given space. So the important text must be put in the points that intersect the columns and rows. Generally, rules of thirds are not used in typographic composition but it is still an element of composition that is used to make decision on placement of important information within a given space.
The Rule of Thirds
The Rule of Thirds is a photographic guide to composition, it basically suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as guide to place the points of interest, within the given space. So the important text must be put in the points that intersect the columns and rows. Generally, rules of thirds are not used in typographic composition but it is still an element of composition that is used to make decision on placement of important information within a given space.
|
| fig 1.2.2 Rule of Thirds on Typography |
Typographic Systems
These 8 systems we have covered in depth in theory and practical. From the 8 systems the most pragmatic and most used system is the Grid (Raster) System, which is derived from the guided compositional structure of letter press printing. It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill and such.
These 8 systems we have covered in depth in theory and practical. From the 8 systems the most pragmatic and most used system is the Grid (Raster) System, which is derived from the guided compositional structure of letter press printing. It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of typography, with its foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill and such.
|
| fig 1.2.3 Grid System Typography |
|
| fig 1.2.4 Result of Work |
Other models / systems
Environmental Grid
This system is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines both curved and straight are formed. The designer then organizes his information around this super-structures, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.
When you look into an exterior space, then there are a building icon. Then you line the structure and base your informational arrangement around that particular structure. It would look like this :
|
| fig 1.2.5 Environmental Grid |
Form and Movement
This system is based on the exploration of an existing Grid Systems. Mr Vinod developed this system to get students to explore; the multitude of options the grid offer; to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text, and color. The placement of a form on a page, over many pages creates movement. Whether the page is paper or screen is irrelevant.
|
| fig 1.2.6 Form and Movement |
Non-objective elements are placed within a larger page system and minor elements are introduced along with this larger elements, and they try to maintain the connection between one spread to another spread once this entire process of maintaining connections but also creating surprises in every spread is completed, it is then used to animate in a faster way to show you how connection are created through movement on page.
Week 3 : Context & Creativity
Handwriting
We study handwriting because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing and conventions mechanical type would try and mimic. The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform. Additional factors included the material upon which the forms were written : clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
Handwriting
We study handwriting because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing and conventions mechanical type would try and mimic. The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them. Sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens all contributed to the unique characteristics of the letterform. Additional factors included the material upon which the forms were written : clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.
|
|
fig 2.1.1 Evolution of Latin Alphabet |
|
| fig 2.1.2 Ancient Egypt Hieroglyphics Chart |
Cuneiform (3000 B.C.E) : The earliest system of actual writing, was
used in a number of languages between the 34C. B.C.E. through the 1st
century C.E. Its distinctive wedge form was the result of pressing the blunt
end of a read stylus into wet clay tablets. The cuneiform characters evolved
from pictograms. Cuneiform was written from left to right.
Hieroglyphics (2613-2610 B.C.E.) : The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters - the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways :
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
3. As phonograms to represent sounds that “spell out” individual words.
Hieroglyphics (2613-2610 B.C.E.) : The Egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters - the first link to a future alphabetic system. Hieroglyphic images have the potential to be used in three different ways :
1. As ideograms, to represent the things they actually depict.
2. As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the word.
3. As phonograms to represent sounds that “spell out” individual words.
|
| fig 2.1.3 Evolution of Letters |
Early Greek / 5th C. B.C.E. : These early Greek letters were drawn freehand, not constructed with compasses and rule, and they had no serifs neither the informal entry and exit strikes left by a relaxed and fluent writer, nor the symmetrical finish stroke typically added to letters by formal scribes.
Roman Uncials : By the 4th century Roman letters were becoming more rounded, the curved form allowed for less stokes and could be written faster.
English Half Uncials, 8th C. : In England, the uncial evolved into a more slanted and condensed form. While English and Irish uncials evolved, writing on the European continent devolved considerably and needed a reformer.
Carolingian Minuscule : Capitals at the start of a sentence, spaces between words and punctuation. This was used for all legal and literary works to unify communication between the various regions of the expanding European empire.
Black Letter (12-15 C. CE) : The vertical supplanted horizontals as the dominant line in architecture; the pointed arch replaced the round arch of the Romans; the almond shape, or mandarin, was preferred. This is characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.
The Italian Renaissance : This is the form that was being applied to art and architecture resulting in a more perfect or rationalized letter.
|
| fig 2.1.4 Evolution of Middle Eastern Alphabets |
Evolution of Middle Eastern Alphabets : It is also important to note that while the Phoenician letter marks a turning point in written language - used of sound represented in letters - the script itself has been possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.
|
| fig 2.1.5 Evolution of Chinese Script |
The evolution of the Chinese script : from the oracle bone to seal script to clerical script, traditional and simplified scripts.
|
| fig 2.1.6 Oldest Indian IVC script |
The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature.
|
| fig 2.1.7 Brahmi Script |
The Brahmi script (450-350 BCE) is the earliest writing system developed in India after the Indus script. It is one of the most influential writing systems all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.
|
|
fig 2.1.8 Southeast Asia Script |
Southeast Asia Scripts, scripts of the communities that assimilated into
Peninsula Malay communities.
According to Xavier Dupré (2007), this are the two reasons for designing a typeface :
- Type design carries a social responsibility so one must continue to improve its legibility
- Type design is a form of artistic expression
Consideration/Limitations : letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign.
Matthew Carter is the son of Harry Carter. Many of his fonts were created to address specific technical challenges, for example those posed by early computers, Verdana (1996) for Microsoft. The purpose is to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.
Consideration/Limitations : The Verdana fonts exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters, such as the lowercase i j l.
Edward Johnston is the creator of the hugely influential London “Underground” typeface, which would later come to be knows as “Johnston Sans” (1916). The purpose is because London’s Underground railway ordered a new typeface for its posters and signage from the calligrapher Edward Johnston. He handed over details and examples of letter shapes that would set the tone for printed text until the present day.
Consideration/Limitations : Johnston’s remit was to unite the London Underground Group, the different companies all using the same rails and tunnels.
Process of Type Design :
1. Research
Understand type history, type anatomy and type conventions. It is important to
determine the type’s purpose or what it would be used for, what different
applications it will be used in such as whether the typeface is for school
busses or airport signages, etc.
2. Sketching
2. Sketching
Traditional : Some designers sketch their typeface using the
traditional tool set (brushes/pens, ink and paper) then scan them for the
purpose of digitization.
Digital : Some designers sketch their typeface using digital tool sets, such
as Wacom directly into a font design software (more quicker, persistent, and
consistent) but this can sometimes impede the natural movement of hand
strokes.
3. Digitization
There are professional software that are used in the digitization of typefaces
(Fontlab and Glyphs app). There are designers that also use Adobe Illustrator
to design or craft letterforms then introduce it into the specialized font
apps.
4.Testing
4.Testing
This is an important component in the design thinking process. The results of
the testing is part of the process of refining and correcting aspects of the
typeface. Prototyping is also part of the testing process and leads to
important feedback. Depending on the typeface category, the readability and
legibility of the typeface becomes an important consideration.
5.Deploy
5.Deploy
Even after deploying a completed typeface there are always teething problems
that did not come to the fore during the prototyping and testing phases. Thus,
the task of revision doesn’t end upon deployment.
Typeface Construction
Typeface Construction
|
| fig 3.1.1 Typeface Construction |
Roman Capital : The grid consists of a square, and inside it a circle that just touches the lines of the square in for places. Within the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre of the square.
Construction and Consideration
|
| fig 3.1.2 Classification according to form and construction |
Depending on their form and construction, the 26 characters of the alphabet can be arranged into groups, whereby a distinction is made between a group for the capitals and a group for lowercase letters.
Different forms and constructions must be taken into account when designing a new type. An important visual. Correction is the extrusion of curved (and protruding) forms past the baseline and cap line. A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them. The letters must be altered to a uniform ‘visual’ white space. This means that the white space between the letters should appear the same. This is called “fitting” the type.
Week 5 : Perception & Organization
Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organization of the content. Content can be textual, visual, graphical or in the form of color.
Contrast
Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organization of the content. Content can be textual, visual, graphical or in the form of color.
Contrast
 |
| fig 3.2.1 Contrast divided by Rudi Ruegg |
There are several methods in typography to create contrast. If there is no contrast in a book, the reader will have difficulty to separate different type of information.
 |
| fig 3.2.2 Contrast divided by Carl Dair |
Carl Dair adds a two more principles into the mix; texture and direction. Dair posits 7 kinds of contrast which are size, weight, contrast of form, contrast of structure, contrast of texture, contrast of color and contrast of direction.
Form
Form refers to the overall look and feel off the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions. A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.
Typography an be seen as having two function :
- To represent a concept
- To do so in a visual form
 |
| fig 3.2.3 Form |
Gestalt psychology is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions. Gestalt theory emphasize that the whole of anything is greater than its parts.
Perceptual Organization / Grouping :
- Law of Similarity : Elements that are similar to each other tend to be perceived as a unified group, can refer to any number of features (color, orientation, size or indeed motion.
- Law of Proximity : Elements that are close together tend to be perceived as a unified group. This straightforward law states that items close o each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
- Law of Closure : The mind’s tendency to see complete figures or forms even if a picture is incomplete.
- Law of Continuation : Humans tend to perceive each or two or more objects as different, singular, and uninterrupted object even when they intersect.
- Law of Symmetry
- Law of Simplicity (Praganz)
 |
| fig 2.3.4 Gestalt Theory |
INSTRUCTIONS
Task 1 - Exercise 1 - Typographic System
In this exercise, we are asked to explore the 8 typographic system in
Indesign using the text that are given in the MIB. The 8 typographic
system are Axial, Radial, Dilational, Random, Grid, Transitional, Modular,
and Bilateral.
Before doing it in Indesign, I do some research for the each
typographic system.
|
| fig 4.1 References |
fig 4.2 Sketches (24/04/2024)
Next, I go to Indesign and started to do this task.
Progress
|
| fig 4.3 Progress (24/04/2024) |
Week 1 Attempt
fig 5.1 Axial attempt (24/04/2024)
Font used :
Left picture
Title : Janson Text LT Std (Roman)
Text : Janson Text LT Std (Roman)
Right picture
Title : Janson Text LT Std (Roman)
Text : Janson Text LT Std (Roman)
fig 5.2 Radial attempt (24/04/2024)
Font used :
Left picture
Title : Gill Sans (Regular)
Text : Bembo (bold)
Right picture
Title : Futura (medium)
Text : Bembo (Regular)
fig 5.3 Dilational attempt (25/04/2024)
Font used :
Left picture
Title : Adobe Caslon Pro (Semibold Italic)
Text : Adobe Caslon Pro (Regular)
Right picture
Title : Adobe Caslon Pro (Semibold Italic)
Text : Adobe Caslon Pro (Regular)
fig 5.4 Random attempt (25/04/2024)
Font used :
Left picture
Title : ITC Garamond Std (Bold Condensed)
Text : ITC Garamond Std (Book Condensed Italic, Light
Condensed, Book Italic)
Right picture
Title : Adobe Caslon Pro (Bold Italic), Janson Text LT
STD (Bold Italic), ITC Garamond STD (Bold Italic)
Text : Adobe Caslon Pro (Regular)
fig 5.5 Grid attempt (25/04/2024)
Font used :
Left picture
Title : Futura Std (Book)
Text : Futura Std (Book)
Right picture
Title : Futura Std (Book)
Text : Gill Sans (Regular)
fig 5.6 Transitional attempt (27/04/2024)
Font used :
Left picture
Title : Serifa Std (Black, Roman)
Text : Serifa Std (Roman)
Right picture
Title : Bodoni 72 (Bold)
Text : Bodoni 72 (Book)
fig 5.7 Modular attempt (27/04/2024)
Font used :
Left picture
Title : Univers LT Std (Bold Condensed Oblique, Light
Condensed Oblique)
Text : Univers LT Std (Roman)
Right picture
Title : Gill Sans (Semibold)
Text : Gill Sans (Regular)
fig 5.8 Bilateral attempt (27/04/2024)
Font used :
Left picture
Title : Futura (Heavy)
Text : Futura (Medium Italic, Book)
Right picture
Title : Futura (Heavy)
Text : Janson Text LT Std (Roman)
Week 2 revised
After receiving feedback from Mr.Vinod, I change some of the design
from what I have done in week 1. For axial system, the title need to
be align with the line, so I change it.
|
|
|
For the random system, Mr Vinod said it is not too random, so I change
some of the title to make it more random.
|
| fig 6.2 Revised Random System (02/05/2024) |
For modular system, I change the whole design because I do it wrong at
the first place.
|
| fig 6.3 Revised Modular System (02/05/2024) |
For the others, I just need to look at the spacing between each text.
Final Task 1 - Exercise 1 - Typographic System
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
fig 7.9 Final Typographic System PDF-Without Grid (03/05/2024)
fig 7.10 Final Typographic System PDF-With Grid (03/05/2024)
Task 1 - Exercise 2 - Type and Play
Part 1 - Finding Type
In part 1, we are asked to find one picture (man-made object or
nature) to analyze, dissect, and identify potential letterforms within
the image.
1. Chosen object
|
| fig 8.1 Coral Reef (Chosen Object) |
I decided to use this coral reef picture to dissect into letterforms.
The letters I found were E, O, K, and letter A.
Letterform extraction
|
| fig 8.2 Letters I found |
Here are the four letters that I found and I trace it out using the
pen tool at Illustrator and here are the result :
|
| fig 8.3 Traced out letter (03/05/2024) |
From the extracted letter, I see that the letters didn't have much
sharp edges, other than that there are some "branches" coming out from
the letters. As the letter K didn't have the "branches", I add it
myself so it look like the other letters. The letter E and A have a
long "branches" so I decided to cut it into shorter one so it didn't
look weird. I use comic sans font as a reference.
|
| fig 6.4 First attempt (03/05/2024) |
|
|
fig 8.5 Second Attempt (03/05/2024) |
|
|
fig 8.6 Third Attempt (03/05/2024) |
 |
|
fig 8.7 Fourth Attempt (03/05/2024) |
|
| fig 8.8 Fifth Attempt (03/05/2024) |
After getting feedback from Mr.Vinod, I try to adjust some of my letters
again
 |
|
fig 8.9 Sixth Attempt (08/05/2024) |
Then, I try to make the size similar by using a square.
|
| fig 8.10 Process (08/05/2024) |
|
|
fig 8.11 Seventh Attempt (08/05/2024) |
Final Result :
 |
| fig 8.12 Process in a picture (09/05/2024) |
 |
| fig 8.13 Initial + Final result (09/05/2024) |
|
|
fig 8.14 Final Result (09/05/2024) |
|
| fig 8.15 Final "E" letter (09/05/2024) |
|
| fig 8.16 Final "O" letter (09/05/2024) |
|
| fig 8.17 Final "K" letter (09/05/2024) |
|
|
fig 8.18 Final "A" letter (09/05/2024)
|
fig 8.19 Process and Final Letters
Next, we are asked to make a movie poster with the letters we have
extract. First, I choose the picture I wanted to put in the background
of the poster and here is what I found :
|
|
fig 9.1 Movie Poster background |
Then, I try to place my letters in the center of the picture, and add
some text so it looks like a movie poster. Here are some of the logos I
used :
fig 9.2 Logos used
And here is the result of the movie poster :
|
|
fig 9.3 1st attempt of doing movie poster (10/05/2024) |
|
| fig 9.4 2nd attempt of doing movie poster (10/05/2024) |
Then, after receiving feedback from Mr.Vinod, he asked me to make the text gradient so it's not too flat, as well as changing the dreamwork logo into another color, and here is the result :
Final Movie Poster :
General feedback : learn the 10 fonts to make your work easier,
write down lecture and process work on your e-portfolio
Specific feedback : for the axial system, make sure the line
is not too thick
Specific feedback : The picture choice is good, the letterforms are flat, try to add gradient on the letters, the dreamwork logo have to be in the bottom.
Week 2
General feedback : For radial system, need to be align within one
circle, the date text need to look at the size different.
Specific feedback : Need to be improve in the leading, for the
radial system, the graphical elements is too attracting, modular system
need to have the same size of units. Some system need to be re-do.
Week 3
General feedback : Do not need to relay to the picture too much,
we can do some adjustments by ourselves. Do not just trace lines, do the
whole surface.
Specific feedback : It's on the right track, the typeface is
appropriate, need to have the same structure.
Week 4
General feedback : The movie poster need to have logo, the picture
of the poster need to be related to the letters. Specific feedback : The picture choice is good, the letterforms are flat, try to add gradient on the letters, the dreamwork logo have to be in the bottom.
to the top
Grids are composed of both columns and visual fields; the modules can be
regardedas square visual fields. In this case what makes the modular
system interesting is that the designer composes with the square modules
much more freely. The modules can differ in tone or shift and rotate. Type
can align within the module or attach to an edge, as well as change tone.
REFLECTION
Experience
The first exercises, which was typographic system makes me stressful
because in only a week, we need to have 8 different system which at
first, I was not familiar of. I start off by watching Mr Vinod lecture
and try to make the system, and finally I was able to finish that
exercise. Continuing to exercise 2, I do think this exercise is more
interesting than the first one. Being able to make typeface according to
a picture makes this exercise fun.
Observations
Though for me the first exercise is a little bit stressful, but seeing
my friends work makes me realize that there are lots of way to make the
text into the system looks more interesting. Some of their works also
inspire me. As for the second tasks, I do see lots of different type of
typeface that my friends created. Some of them looks so similar to the
original photos, which amazed me so much.
Findings
Through the first exercise, now I know what is typographic system, I
really read and listen to lectures and it really helps me a lot.
Although at first I do think this system can't really be explored, but
after trying it lots of time, it can help my creativity. Through the
second task, I do think that characters are really important, how we
manage to have all of the letters the same "family" is not that easy.
FURTHER READING
|
| fig 9.1 Typographic System by Kimberly Elam |
To help me with exercise 1, I read the Typographic System Book by
Kimberly Elam. Mr Vinod recommends this book.
|
| fig 9.2 Non-objective elements (pg.14) |
To make our typographic system interesting, we can put some nonobjective
elements to it. By using this, it sharpens and articulates the
composition. These elements can strengthen a message by communicating a
sense of organization and direction. These elements can be lines,
circles, also bold/italic.
Because I did my modular system wrong, I try to read again and find
inspiration from this book.
|
| fig 9.3 Modular System (pg. 126) |
|
| fig 9.4 Cover of the website |
To help me with exercise 2, I read this website where Mr.Vinod recommends.
|
|
fig 9.5 Extracting letters |
Advanced Typography is a great way to dive deeper into how type choices impact design and readability. Exploring font pairing, hierarchy, and spacing really shows how small details can completely change the message. It reminds me of writing academic papers, where structure and presentation matter just as much as content. That’s why many students turn to an online dissertation proposal writing service, to make sure their ideas are not only strong but also clearly and professionally presented. Design and writing both rely on precision!
ReplyDelete