Advanced Typography Task 1 / Exercises: Typographic Systems & Type & Play

31.8.2022 - 21.9.2022 (Week 1 - Week 4)

Takuto Hozumi / 0354047 / Bachelor Of Design (Hons) In Creative Media

Advanced Typography

Task 1 / Exercises: Typographic Systems & Type & Play

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LECTURES

0. Week 1 Introduction to the module

Mr. Vinod first brief us about an overview of the Advanced Typography class.

1. In this class, students will expand on the typography fundamentals learned in Semester 1 and further refine knowledge and skills.
2. He also reiterated the importance of the portfolio, as in Semester 1, to clearly state the entire process of the assignment, not only the final outcome.
3. All work must be output in JPEG (300dpi) and PDF format and posted.
4. There were recommending reading in MIB for us to read.

1. Week 1 Typographic Systems

“All design is based on a structural system.” (Elam, 2007)

Typographical organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast also come into play.

The typographic systems are akin to what architects term shape grammars. The typographic systems are similar that the systems has a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making. (Elam, 2007)

Typographic design is based on some rules. There are 8 major variations according to Elam, with an infinite number of permutations.

• Axial
• Radial
• Dilatational
• Random
• Grid
• Modular
• Transitional
• Bilateral

The framework can guide a learner's exploration as ones intuition develops and matures.

Axial system: All the elements are organized to the left or right of a single axis, it doesn't have to be straight. 

Fig.1-1: Example of Axial system

Radial system: All elements are extended from a point of focus. 

Fig.1-2: Example of Radial system

Dilatational system: All elements expand from a central point in a circular fashion. It could b simple or complex. 

Fig.1-3: Example of Dilatational system

Random system: elements appear to have no specific pattern or relationship. 

Fig.1-4: Example of Random system

Grid system: A system of vertical and horizontal divisions. 

Fig.1-5: Example of Grid system

Modular system: A series of non-objective elements that are constructed in as a standardized units. The unit can be randomly place even though not within a larger grid. 

Fig.1-6: Example of Modular system

Transition system: An informal system of layered banding. The differences of the size and the width is also important to create hierarchy. 

Fig.1-7: Example of Transition system

Bilateral system: All text is arranged symmetrically on a single axis. 

Fig.1-8: Example of Bilateral system

Many designers focus primarily on the grid system for design and are unaware of the the potential that other systems hold. This here system is one of many possibilities that affords some level of distinctiveness from the grid systems in certain situations.

An understanding of the systems organization process allows the designer to break free from “the rigid horizontal and vertical grid systems of letter press” (Elam, 2007). It allows designers to use more fluid means to create typographic messages.

2. Week 2 Typographic Composition

Principles of Design Composition

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 consist different elements.

Rule of thirds

Fig.1-9: Rule of Thirds

The rule of thirds is a photographic guide to composition, it suggests that a frame can be divided into 3 columns and rows. But it was rarely used.

Typographic Systems

Fig.1-10: Grid system / high adaptability and versatility

These 8 systems we have covered in depth in theory and practical. From the 8 systems the most pragmatic and the most used system is the Fig.1-5 Grid System (or Raster Systeme), which is derived from the grided compositional structure of Letter Press printing. 

Young designers such as David Carson, Paula Scher, and Jonathan Barnbrook rebelled against being bound by rules and pioneered new designs which are seamless combinations of readability and legibility in the postmodernist era.

Other models / Systems

Fig.1-11: Paula Scher, Jonathan Barnbrook and David Carson

Respectively from the Left

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 is formed. The designer then organizes his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli. 

Fig.1-12: An example from lecturer Brenda McMannus, of Pratt Inst.

Typographic Form and Communication, pp211. 

Form and Movement: This system is based on the exploration of an existing Grid Systems. I 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. 

3. Week 3 Context & Creativity

Why is handwriting important?

Because the first letterforms were designed to directly imitate handwriting. Handwriting would become the 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.

Ex. Sharpened bones, charcoal sticks, plant stems, brushes, feather, steel pens

Additional factors included the material upon which the forms were written: clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

Fig.1-13: Evolution of the Latin Alphabet

Cuneiform c. 3000 B.C.E

Earlies system of writing that was used in several languages between the 34C.B.C.E through the 1st Century C.E. Distinctive wedge form and it was written from left to right. 

Fig.1-14: Cuneiform

Hieroglyphics 2613–2160 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.

Fig.1-15: Hieroglyphics

Early Greek 5th C. B.C.E.

Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.

Fig.1-16: Early Greek

Roman Uncials

By the 4th Century, Roman letters were becoming more rounded. Lesser strokes were used and it could be written faster. 

Fig.1-17: Roman Uncials

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. Luckily it came in the Carolingian Handwriting Reform.

Fig.1-18: English Half Uncials

Emperor Charlemagne 8 C. CE 

After the fall of the Roman Empire, the end of a central advanced culture resulted in general illiteracy and a breakdown of handwriting into diverse regional styles. 

Fig.1-19: Carolingian Minuscule 1

Fig.1-20: Carolingian Minuscule 2

Carolingian Minuscule

A court school was established under the direction of Alcuin of York. During Charlemagne's patronage book production increased and language was standardized -pronunciation and spelling as well as writing conventions- capitals at the start of a sentence, spaces between words and punctuation. A new script emerged, the Carolingian minuscule.

Fig.1-21: Black Letter

Black Letter 12 - 15 C. CE

Gothic was the culminating artistic expression of the middle ages occurring roughly from 1200 to 1500. Characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. This also reduced the number of costly materials in book production. 

Fig.1-22: The Italian Renaissance 1

Fig.1-23: The Italian Renaissance 2

The Italian Renaissance

The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letter form design. Humanist named the newly rediscovered letterforms Antica. The renaissance analysis of form  that was being applied to art and architecture was directed toward letterform -resulting in a more perfect or rationalized letter.

4. Week 4 Designing Type

Why design another typeface?

1. Type design carries a social responsibility so one must continue to improve its legibility.
2. Type design is a form of artistic expression.

In the next, it is described how some of the typefaces were created.

Fig.1-23: Univers

“Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. His valued contribution to typography includes the typefaces; Univers and Frutiger.”

Fig.1-24: Frutiger 1

Fig.1-25: Frutiger 2

Frutiger is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968 specifically for the newly built Charles de Gaulle International Airport in France. 

Purpose: The goal of this new typeface was to create a clean, distinctive and legible typeface that is easy to see from both closeup and far away.  Extremely functional.

Considerations/Limitations: letterforms needed to be recognized even in poor light conditions or when the reader was moving quickly past the sign. He tested with unfocused letters to see which letterforms could still be identified.

Fig.1-26: Verdana

Many of Carter's fonts were created to address specific technical challenges, for example those posed by early computers, Verdana (1996) for Microsoft.

Purpose: the font was tuned to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.

Considerations/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.

Fig.1-27: Johnston Sans

Edward Johnston is the creator of the hugely influential London “Underground” typeface, which would later come to be knows as “Johnston Sans” (1916). 

Purpose: 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/limitation: Johnston's remit was to unite the London Underground Group, the different companies all using the same rails and tunnels, All the advertising, all the signage was all completely different - there was this cacophony of letters. Johnston applied the proportions of Roman capital letters to his typeface, so it was rooted in history, rooted in traditional calligraphy. But it has elegance and simplicity that absolutely fitted the modern age.

General Process of Type Design

1. Research 

Understand type history, type anatomy, and type conventions. We should also know terminologies, side-bearing, metrics, and hinting.

Determine the type's purpose and what would it be used for.,

Examine existing fonts that are presently being used for inspiration/ideas.

2. Sketching

Can be done traditionally (pencils, pens, brushes, etc.) or digitally (Wacom, iPad)

Both methods have their pros and cons. 

3. Digitization

Professional software used for digitization of typefaces. (FontLab, Glyphs app)

Some designers also use Adobe Illustrator to design or craft letterforms.

Attention should not only be given to the whole form at this stage but also to the counter form. The readability of the typeface is heavily dependent on it. 

4. Testing

An important component in the design thinking process.

Results of testing are part of the process of refining and correcting aspects of the typeface.

Prototyping is also part of this process and leads to important feedback. 

5. Deploy

There are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, task revision doesn't end upon deployment. 

Rigorous testing is important so that teething issues remain minor.

Typeface Construction

Fig.1-28: Typeface Construction

Roman Capital: The grid consists of a square and inside it a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three-quarters the size of the square and is positioned in the center of the square.

Thus, using grids (with circular forms) can facilitate the construction of letterforms and is a possible method to build/create/design 

your letterform.

Construction and considerations

Classification according to form and construction. Depending on their form, the 26 characters of the alphabet can be arranged into groups. 

Visual correction is the extrusion of curved and protruding forms past the baseline and cap line. It is needed for the distance between letters. The letters must be altered to a uniform visual white space. This is called "fitting" the type. 

Fig.1-29: Construction and considerations 1

Fig.1-30: Construction and considerations 2

5. Week 5 Perception and Organisation

Perception in Typography

Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form, and organization of the content.

Contrast: There are 7 methods in typography to create contrast. Contrast is used to create distinction or differentiation of information. 

Fig.1-31: Contrast

Contrast / Size

A contrast of size provides a point to which the reader’s attention is drawn. For example if you have a big letter and a small letter you will obviously see the big letter first before the small. The most common use of size is in making a title or heading noticeably bigger than the body text.

Fig.1-32: Contrast / Size

Contrast / Weight

Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot, squares is also provide a “heavy area” for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.

Fig.1-33: Contrast / Weight

Contrast / Form

Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.

Fig.1-34: Contrast / Form

Contrast / Structure

Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif  and a traditional serif, or an italic and a blackletter.

Fig.1-35: Contrast / Structure

Contrast / Texture

By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture. Texture refers to the way the lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they’re arranged. 

Fig.1-36: Contrast / Texture

Contrast / Direction

Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.

Fig.1-37: Contrast / Direction

Contrast / Color

The use of color is suggested that a second color is often less emphatic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values  of the colors that are used.

Fig.1-38: Contrast / Color

From

Form refers to the overall look and feel of the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions.

Fig.1-39: Form

Fig.1-40: Type Form 1

Fig.1-41: Type Form 2

Fig.1-42: Type Form 3

Originating from the Greek words “typos” (form) and “graphis” (writing), typography means to write in accordance with form. Typography can be seen as having two functions: 

• to represent a concept
• to do so in a visual form.

Displaying type as a form provides a sense of letterforms’ unique characteristics and abstract presentation. The interplay of meaning and form brings a balanced harmony both in terms of function and expression.

When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.

Organisation / Gestalt

Gestalt theory emphasized that the whole of anything is greater than its parts. This is based on the idea that we experience things as a unified whole. Therefore in design, the component elements that make up the design are only as good as its overall visual form.

Fig.1-43: Gestalt Theory

The Law of Similarity is the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including color, orientation, size, or indeed motion.

The Law of Proximity is the gestalt grouping law that states elements that are close together tend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.

The Law of Closure refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing

Law of (Good) Continuation holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role for this principle to take effect.

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INSTRUCTION

Week 1 Typographic Systems

The Goal of this Exercise

Utilize the eight typographic systems learned in the lecture to create each design.

Process of Work

Fig.2-1: Document Preparation

Create a new document at InDesign. *Size 200mm × 200mm

Fig.2-2: Document Preparation

Prepare the text from the given content. Choose one of three titles. I chose "All Ripped Up: Punk Influences on Design".

Text Data;

The Design School,

Taylor’s University

All Ripped Up: Punk Influences on Design

Open Public Lectures:

June 24, 2021

Lew Pik Svonn, 9AM-10AM

Ezrena Mohd., 10AM-11AM

Suzy Sulaiman, 11AM-12PM

June 25, 2021

Lim Whay Yin, 9AM-10AM

Fahmi Reza, 10AM-11AM

Manish Acharia, 11AM-12PM

Lecture Theatre 12

In the first step, the font size should be set to 8 to 12pt which is optimal for the content. The size will be adjusted later for titles and other important content.

Fig.2-3: Axial system attempt 1 & 2 (3/9/2022)

Fig.2-4: Radial system attempt 1 & 2 (3/9/2022)

Fig.2-5: Dilatational system attempt 1 & 2 (3/9/2022)

Fig.2-6: Random system attempt 1 & 2 (3/9/2022)

Fig.2-7: Grid system attempt 1 & 2 (4/9/2022)

Fig.2-8: Modular system attempt 1 & 2 (4/9/2022)

Fig.2-9: Transition system attempt 1 & 2 (4/9/2022)

Fig.2-10: Bilateral system attempt 1 & 2 (4/9/2022)

Week 2 Feedback

Fig.2-11: Items Receiving Feedback (7/9/2022)

I selected one each of the above 2 designs and received feedback in the lecture. Post-lecture reflections are noted below.

1. Axial: To align the left and right margins, the entire image was moved slightly to the left.

2. Radial: "Open Public Lectures" was changed to a form that was in accordance with the system.

3. Dilatational: The black circle in the center was removed and the overall balance was adjusted accordingly.

4. Random: Adjusted numeric letter spacing.

5. Grid: No changes.

6. Modular: The design that straddles the border of the frame was discontinued and replaced with a design that utilizes squares. Especially the title.

7. Transitional: Minimized decoration.

8. Bilateral: No changes.

 

Fig.2-13: Axial before & after

 

Fig.2-14: Radial before & after

 

Fig.2-15: Dilatational before & after

 

Fig.2-16: Random before & after

Fig.2-17: Grid system final ver.

 

Fig.2-18: Modular before & after

 

Fig.2-19: Transition before & after

Fig.2-20: Bilateral system final ver.

Final Outcome

JPEG

Fig.2-21: Axial system final ver. (7/9/2022)

Fig.2-22: Radial system final ver. (7/9/2022)

Fig.2-23: Dilatational system final ver. (7/9/2022)

Fig.2-24: Random system final ver. (7/9/2022)

Fig.2-25: Grid system final ver. (7/9/2022)

Fig.2-26: Modular system final ver. (7/9/2022)

Fig.2-27: Transition system final ver. (7/9/2022)

Fig.2-28: Bilateral system final ver. (7/9/2022)

PDF

Final Outcome PDF (4/9/2022)

Final Outcome PDF with Grid (4/9/2022)

Week 2 Type & Play Part 1: Finding Type

The Goal of this Exercise

Make a selection of images between man-made objects (chair, glass, etc.) or structures (buildings), and nature (Human, landscape, leaf, plant, bush, clouds, hill, river, etc.).

Analyze, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. It is expected that through a process of iteration the forms would go from crude representation to a more refined celebration that would reflect a degree of its origins.

Process of Work

Selection of images

I selected the following three photos from among those I had taken myself that might yield interesting patterns.

Fig.2-29: Option 1

Fig.2-30: Option 2

Fig.2-31: Option 3

After careful observation and review of those photos, I came to the decision that the photos in "Option 2" seemed to be able to generate more shapes.

Tracing a Shape in Illustrator

Fig.2-32: Tracing outlines

Fig.2-33: Tracing details

Fig.2-34: Extracting random letters from the shapes

Fig.2-35: Align the size of the extracted prototype

Fig.2-36: Refining the stroke weight to balance

Fig.2-37: Result of Fig.2-36

Fig.2-38: Refining again the letters to make them consistent

Fig.2-39: Type & Play JPEG (10/9/2022 *Before Feedback)

Fig.2-40: Reference Font "Futura Std Extra Bold Oblique"

Reflecting Feedback on Week3

As noted in the feedback section below, my letters are not harmonized nicely. Mr. Vinod attributed this to the first form extracted. The final design, especially M and W, looks alien compared to the other letters. So I removed them and selected new shapes from among the turtle shapes to create a different letter.

Fig.2-41: Extracting a new letter from the shapes

The same procedure as for another letter is used to adjust the thickness, etc., based on the reference font.

Fig.2-42: Refining the stroke weight to balance

Fig.2-43: Put it side by side with other letters

Although the books were finally reconciled, the solution was different from the original purpose of the assignment. As per the feedback, if we had extracted a unified shape from the pattern at the beginning, there would have been no need for adjustments like this way.

Fig.2-44: For Week 4 In-class Feedback

Reflecting Feedback on Week4

As per the feedback section, the angle of the J was noted. The following Final outcome is the adjusted 5 degrees.

Final Outcome

JPEG

Fig.2-45: Type & Play Final ver. JPEG (14/9/2022)

Fig.2-46: "A" JPEG (10/9/2022)

Fig.2-47: "C" JPEG (10/9/2022)

Fig.2-48: "J" JPEG (22/9/2022)

Fig.2-49: "M" JPEG (10/9/2022)

Fig.2-50: "V" JPEG (10/9/2022)

PDF

Final Outcome PDF / Individual Letter (22/9/2022)

Final Outcome PDF / Compilation Letter (22/9/2022)

Week 3 Type & Play Part 2: Type & Image 

The Goal of this Exercise

Students will combine a visual with a letter/word/sentence of their choosing. The

objective is to enhance/support the interplay between the letter/word/sentence and the selected visual. The text must be woven into a symbiotic relationship with the image.

Process of Work

Prototyping and Trial & Error

First, choose a photo. It has to be one that I took.

Fig.2-51: Photo 1

Fig.2-52: Photo 2

Fig.2-53: Photo 3

The photos were processed to facilitate layout in combination with text, including making the background transparent when necessary.

Fig.2-54: Transparent data

Fig.2-55: Rule of Third

Also applied some layouts I had learned in the past.

Fig.2-56: Attempt 1

Fig.2-57: Attempt 2

Reflects in-class feedback

Attempts 1 and 2 that I submitted through FB during the in-class feedback were reworked because I had made a misunderstanding in the purpose of the assignment.

Fig.2-58: The Competition Guidelines

In addition, as general feedback, when designing wallpaper, the contrast must be lesser than in usual designs. This is because, if icons of various colors are to be placed on the design, a high-contrast design will make it difficult to distinguish between them.

Fig.2-59: Photo 4

Fig.2-60: Photo 5

Therefore, I used these photos to create an even more serene design, and composed the word Return, indicate the wave.

Final Outcome

JPEG

Fig.2-61: Type & Play Part 2: Type & Image JPEG (28/9/2022)

Fig.2-62: With Competition Logo

Fig.2-63: Foldable Wallpapers

Fig.2-64: Personalized Cards

PDF

Final Outcome PDF (28/9/2022)

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FEEDBACK

Week 2

General feedback: While it is easy to simply create the design in accordance with the design system, it is difficult to consider even the organization of information. This means organizing which information should be displayed in a large size and in what order, etc., and incorporating this into the design. It is quite difficult to rank and design the information. A piece created by following a system may look similar at first. Subsequent developmental designs may be better. When using alphabets and numbers at the same time, it may be necessary to lower the number points. (*Depends on the font) Designing typography is a series of choices.

Specific feedback: About Typographic Systems (As of 7.9.2022)

1. Axial: Mostly OK, a little balance adjustment.

2. Radial: OK

3. Dilatational: Need to clean up the information in the middle a bit. The big black circle in the middle is not essential.

4. Random: OK

5. Grid: OK

6. Modular: Change the title a bit. Stop straddling the line as explained in class.  7.Transitional: Make the circles a little smaller, like 3 consecutive circles.

8.Bilateral: OK

Week 3

General feedback: For some students, it was not clear what and why part of the picture the figure was extracted from. Only by following the steps of tracing the shapes and selecting the shapes accurately can great work be done. The design process is a series of choices about which parts of the extracted shapes to use and how to combine them.

Specific feedback: It finally comes out it still works, but not in good harmony. The first process, extracting shape from the image was wrong selection criteria. All shapes should be extracted from the turtle body, and there is no unity in the shapes created using the margins. Therefore, the final finished letters (especially M and W) looks alien compared to the other letters.

Week 4

General feedback: It is important to be consistent in all letters, including line thickness, tilt, and curvature of curved parts. Transform the first extracted shape to make it unified. It should be smoothly adjusted if there are overly sharp edges and wobbly lines.

Specific feedback: For my letter design, the tilt of J looks like S. It should be adjusted a bit. Overall, no problem.

Week 5

General feedback: When designing wallpaper, the contrast must be lesser than in usual designs. This is because, if icons of various colors are to be placed on the design, a high-contrast design will make it difficult to distinguish between them.

Specific feedback: Attempts 1 and 2 that I submitted through FB during the in-class feedback were reworked because I had made a misunderstanding in the purpose of the assignment.

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REFLECTIONS

Experiences

I think InDesign offered less design flexibility than Illustrator. Maybe I'm just not used to it, but I spent a lot of time on Typographic systems. I think it made me a little quicker at working with InDesign.

Observation

I felt comfortable designing the layout according to the design methods elucidated by predecessors. I learned the importance of keeping details in order and found that this had a significant impact on the quality of the final outcome.

Findings

This task taught me more specific layout techniques than the Sem1 module, and I am confident that I will be able to use them in my future designs. I plan to major in UI/UX and alignment is always important. By the way, I feel that the Type & Play Part 2 assignment in particular required me to have an artistic flair. However, I am not very satisfied with my work. I felt it was important to continue to look at and study many reference designs.

FURTHER READING

Typographic Systems

Fig.3-1: Typographic Systems (Kimberly Elam)

The 8 systems of typography are explained with diagrams. I read this book to learn further as a development of the content of the class and to see more reference images. Symmetry placement, nonobjective elements, and various other elements were explained in combination with the eight systems. It states that it is difficult to create cohesion in a design, especially when using circles, because there are few straight lines or edges that can be combined with other elements. This is what I found in the assignment, and the solution is listed as overlapping shapes and using irregular placement (random system) as a solution.