ADVANCED TYPOGRAPHY - EXERCISES

26/08/2020 - 23/09/2020 (Week 1 - Week 5)
Rifath Ali (0335738)
Advanced Typography
Exercises

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LECTURE NOTES

Lecture 01: Typographic Systems

Week 01 - 26/08/2020

Our first lecture was about the different typographic systems. These systems are a way of communicating the message we as designers wants the audience to see. It also enables the use of principles such as hierarchy, legibility, contrast, and visual eye movement. According to Elam (2007), there are eight major variations of typographic systems.

Axial System: All elements are organized to the left or right of a single axis.

Fig. 1.01: Axial System, Type365

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

Fig. 1.02: Radial System, Type365

Dilatational System: All elements expand from a central point in a circular fashion.

Fig. 1.03: Dilatational System, Type365

Random System: Elements appear to have no specific pattern or relationship.

Fig. 1.04: Random System, David Carson

Grid System: A system of vertical and horizontal divisions.

Fig. 1.05: Grid System, Josef Muller Brockmann

Transitional System: An informal system of layered banding.

Fig. 1.06: Transitional System, Type365

Modular System: A series of non-objective elements that are constructed in as a standardized unit.

Fig. 1.07: Modular System, Type 365

Bilateral System: All text is Arranged symmetrically on a single axis.

Fig. 1.08: Bilateral System, Type365

Lecture 02: Typographic Composition
Week 02 – 02/09/2020

Typographic Composition can be simply explained as arrangement of textual information in a given space.

Principles of Design Composition:

When looking into composition, we think about the dominant principles underpin the design composition. Such as, emphasis, repetition, symmetry, alignment and perspective. However, these principles are more relevant to imagery than complex typographic information.

Although, some of the mentioned principles are more easily translatable than others. For instance, emphasis can be translated through a layout. Same applies for symmetry meanwhile it might be difficult to show repetition.

Fig. 1.09: Typographical Emphasis

The Rule of Thirds:

Mainly a photographic guide that suggests a space can be divided into 3 columns and 3 rows. The interesting lines are used as a guide to place the points of interest, within the given space. Although a unique and an interesting way of translating it, the rule of thirds is generally never used in typographic compositions as there are more favorable options.

Fig. 1.10: The Rule of Thirds

Typographic Systems:

The 8 different systems were explored during lecture one and exercise one. Out of these 8 systems, the most widely used system is the Grid System. It was derived from the gridded compositional structure of letter press printing. With its foremost supporters being Josef Muller Brockmann, Jan Tschichold, Max Bill, it was further enhanced to be known as the Swiss (Modernist) style of typography.

Fig. 1.11: The Grid System

This modernists era was challenged by a group of younger designers and resulted in the random and asymmetrical systems. Although legibility and readability were not the highest priority, a significant amount of thinking and planning goes into these designs. There is also a lot of intuition and gut when it comes to placement of the textual information.  This was an exciting and new form of composition regardless of the chaos.

Fig. 1.12: Random & Chaotic Compositions

Environmental Grid:

This system is based on the exploration of an existing structure or numerous structures combined. It is a departure from post-modernist as it takes not only gut and intuition, but also a combination of structure and context.

Fig. 1.13: Environmental Grid

Form and Movement:

This system is based on the exploration of an existing Grid System. It was developed by Mr. Vinod himself as a way for us to explore the different options the grid system has to offer. It also dispels the seriousness of the grid system as the placement of form on a page, over many pages creates movement.

Fig. 1.14: Form and Movement

Lecture 03: Context & Creativity
Week 03: 09/09/2020

Context here means historical context. When talking about a particular topic area it is important to put it in context to understand it in depth.

Handwriting:

The first mechanically produced letterforms were designed to imitate handwriting. The form, spacing and conventions we see today in the mechanical type were mimicked from handwriting. The shapes and lines of hand drawn letters are largely influenced by the tools and materials used to make them. These tools contributed to the unique characteristics of the letterform.

Fig. 1.15: Evolution of Latin Alphabet

The earliest system of writing dating back to 34C. B.C.E was Cuneiform writing. While it was written from left to right, it evolved from pictograms.

Fig. 1.16: Cuneiform Writing

Hieroglyphics is the Egyptian writing system that is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters. The Hieroglyphic images have the potential to be used in three different ways:

• As ideograms, to represent the things they depict.
• As determinatives to show that the signs preceding are meant as phonograms and to indicate the general idea of the world. 
• As phonograms to represent sounds that “spell out” individual words.

Fig. 1.17: Egyptian Hieroglyphics

The Phoenicians developed a phonetic alphabet consisting of 22 letters which were based on the Egyptian logo-consonantal system. This was later adopted by the Greeks with the addition of necessary vowels. These early Greek letters comprised of only capitals and were drawn free hand.

Fig. 1.18: Early Greek Writing

Over time, the strokes of these letters grew thicker and serifs were introduced. Meanwhile this was used for inscription throughout the Greek empire, it served as a model for formal lettering in imperial Rome. By the 4th century Roman letters were becoming more rounded, the curved form allowed for less strokes and could be written faster.

Fig. 1.19: Roman Uncials

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. 1.20: English Half Uncials

Gothic was the culminating artistic expression of the middle ages. The term originated within the Italians who used it to refer to rude or barbaric cultures. This form took hold in France, Germany and England. Black letter is characterized by tight spacing and condensed lettering. Condensing line spacing and letter spacing reduced the amount of costly materials in book production.

Fig. 1.21: Black Letter

The renaissance embrace of ancient Greek and Roman culture spurred a creative wave through Italian art, architecture, literature and letter form design. 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.

The moveable type was introduced in the 1000-1100 CE. This innovation was pioneered in China but achieved in Korea.

Why do we talk about Greek influence on Rome, but not Egyptian or Near Eastern influence on Greece?

Simply put, RACIAL DISCRIMINATION. In the 19^th century and the rise f the modern British Empire, it became out of style to credit Africa or Africans with anything of value. Greece and Roman civilization were elevated over much older, much more influential civilizations such as Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.

What is notable is that through research, curiosity and respect for history, later day typographers would pay homage to these developments. Books have been written and published and recreation of the handwriting styles were incorporated into mechanical forms for printing.

When looking into Southeast Asia, the oldest writing systems present were Indian scripts. The most important one being Pallava, a South Indian script originally used for writing Sanskrit and Tamil. Its influence led to it being the basis of wiring systems across Southeast Asia.

Indonesia’s most important historical script: Kawi was based on Nagari but is indigenous to Java. The word Kawi originated from Sanskrit word for poet “kavya”. Due to its widespread nature, Kawi became the basis of other scripts in both Indonesia and Philippines. This suggest that the same scripts would have been used by the ancient kingdoms of Malay Peninsula.

Jawi, the Arabic-based alphabet was introduced along with Islam. Although Islam didn’t completely eradicate illiteracy, it did encourage teaching for the sake of proselytization. Also, traders would teach Jawi to people and it allowed the wide spread of Jawi among the upper and middle-class in the trading ports. Jawi is of greater importance to modern Malaysia as it is the script used for all famous works of literature.

As Asia/East has neglected much of its written heritage by adapting western technologies, it was difficult to create many of the old text in printed form. However, with the advancement on computer programmers in large number, we are starting to see the proliferation of indigenous scripts on modern gadgets.

Lecture 04: Designing Type
Week 04 – 16/09/2020

Xavier Dupré (2007) in the introduction of his typeface Malaga suggested 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.

“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.”

Frutiger was designed in 1968 by Adrian Frutiger for the newly built Charles de Gaulle International Airport in France. The goal of it was to create a clean and legible typeface that is easy to see from both close and far away.

Fig. 1.22: Frutiger

He also designed a new Devangari font for modern typesetting and printing processes at the request of the Indian Design Institute. His goal was to simplify the sacred characters, without compromising their ancient calligraphic expression.

Matthew Carter is the son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman. Many of Carter's fonts were created to address specific technical challenges, for example those posed by early computers such as Verdana (1996) for Microsoft.

Fig. 1.23: Verdana

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.

Edward Johnston is the creator of the hugely influential London “Underground” typeface, which would later come to be known as “Johnston Sans” (1916). He was asked to create a typeface with “bold simplicity” that was truly modern yet rooted in tradition.

Fig. 1.24: Johnston Sans

General Process of Type Design:

• Research
• Sketching
• Digitization
• Testing
• Deploy

Research:

When creating a type, we need to understand type history, anatomy, and conventions. We should also know terminologies, side-bearing, metrics, hinting and so on. This needs to be followed by what purpose the type will serve and what different applications it will be used in. It is also important to examine the existing fonts that are presently used for inspiration/idea/refences etc.

Sketching:

Some designers sketch their typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization. Some designers sketch their typeface using digital tool sets, such as Wacom directly into a font design software (much quicker, persistent, and consistent) but this can sometimes impede the natural movement of hand strokes.

Digitization:

Different software and platforms are available for digitization. Such as FontLab and Glyphs App. Attention should not be only given to the whole form at this stage but also to counter form. The readability of the typeface is heavily dependent on it.

Testing:

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.

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. The rigors of the testing is important in so that the teething issue remain minor.

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

Construction and Considerations:

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.

Fig. 1.25: Classification According to Form and Construction

An important visual correction is the extrusion of curved (and protruding) forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms. 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.

Fig. 1.26: Fitting the Type 

Lecture 05: Perception & Organization
Week 05 – 23/09/2020

Perception is “the way in which something is regarded, understood, or interpreted”. Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organization of the content.

Contrast:

There are several methods in typography to create contrast. The one below is devised by
Rudi Ruegg.

Fig. 1.27: Contrast as devised by Rudi Ruegg

Carl Dair on the other hand adds a two more principles into the mix, texture, and direction.

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.

Fig. 1.28: Contrast in Size

Weight describes how bold type can stand out in the middle of lighter type of the same style. It can provide a “heavy area” for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.

Fig. 1.29: Contrast in Weight

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. 1.30: Contrast in Form

Structure means the different letterforms of different kinds of typefaces.

Fig. 1.31: Contrast in Structure

Texture refers to the way the lines of type look as a whole up closely and from a distance. This depends partly on the letterforms themselves and partly on how they are arranged.

Fig. 1.32: Contrast in Texture

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.

Fig. 1.33: Contrast in Direction

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. 1.34: Contrast of Colors

Form:

For 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. 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 can be seen as having two functions:

1. To represent a concept
2. To do so in a visual form

Displaying type as a form provides a sense of letterforms’ unique characteristics and abstract presentation.

Gestalt is a theory about how people perceive the world around them. The human brain is wired to see patterns, logic, structure. Some forms of gestalt theory are:

• Similarity: If the images are similar to each other, our mind will tell us they belong together. This is commonly seen in magazines.
• Proximity: Closeness of visual elements.
• Closure: Our mind tends to bring things together into being and make things real although it is not complete in the visual elements.
• Continuity: Our eyes will look for a design without a break with a consistent flow.

 

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INSTRUCTIONS

Exercise 01: Typographic Systems
Week 01 – 26/08/2020

For the first exercise we were asked to explore the 8 Typographic Systems using one of the 3 contents given to us. I chose to use the following:

Russian Constructivism and Graphic Design

Open Public Lectures:
November 24, 2020
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM

November 25, 2020
Muthu Neduraman, 9AM-10AM
Fahmi Reza, 10AM-11AM
Fahmi Fadzil, 11AM-12PM

Lecture Theatre 12

We were to work on a 200 x 200 mm page, spread and come up with 2 designs for each of the typographic systems. In addition to black, we could use one other color with limited use of graphic elements. I started off with rough sketches of the layouts and then used InDesign to arrange the texts.

The following are my initial designs for each of the typographic systems.

Fig. 2.01: Axial System, First Attempt

Fig. 2.02: Radial System, First Attempt

Fig. 2.03: Dilatational System, First Attempt

Fig. 2.04: Random System, First Attempt

Fig. 2.05: Grid System, First Attempt

Fig. 2.06: Transitional System, First Attempt

Fig. 2.07: Modular System, First Attempt

Fig. 2.08: Bilateral System, First Attempt

Week 02 – 02/09/2020

I received a lot of feedback from Mr. Vinod regarding my first attempt. One general feedback was to reduce the number sizes by 0.5pt compared to the size of the text. Another feedback I received was to be thoughtful when grouping information. Such as “Open Public Lectures” and “Lecture Theatre 12” should not be grouped together as they are not related to each other.

I had to make major changes to the random system as I was told that it is not random at all.

Fig. 2.09: Random System, Second Attempt

I redid the modular system as well. In the previous design, there was no standard base unit.

Fig. 2.10: Modular System, Second Attempt

After consulting with Mr. Vinod, I finalized the following designs.

Fig. 2.11: Axial System, Final Design (JPEG)

Fig. 2.12: Radial System, Final Design (JPEG)

Fig. 2.13: Dilatational System, Final Design (JPEG)

Fig. 2.14: Random System, Final Design (JPEG)

Fig. 2.15: Grid System, Final Design (JPEG)

Fig. 2.16: Transitional System, Final Design (JPEG)

Fig. 2.17: Modular System, Final Design (JPEG)

Fig. 2.18: Bilateral System, Final Design (JPEG)

Following are the PDF compilation of all 8 Typographic Systems.

Fig. 2.19: Typographic Systems, Final Designs (PDF) 

Exercise 02: Type & Play – Part 01: Finding Type
Week 03 – 09/09/2020

For exercise 2, we were tasked with choosing an image of a man-made object, structure, or nature and analyze and dissect it. After digitizing the image, we were to design 5 characters that are an iteration of the image.

I chose an image of some plants and started on the analysis and digitization.

Fig. 2.20: Finding Type, Digitization

I was able to dissect the letters A, H, K, M, and X.

Fig. 2.21: Finding Type, Dissection

I arranged them on the same baseline to get a clearer picture of them and see how it can be improved.

Fig. 2.22: Finding Type, Baseline Arrangement

One thing I noticed was that the thickness of the letters was not consistent. I used 10pt strokes to standardize the thickness.

Fig. 2.23: Finding Type, Standardized Thickness

I used Gill Sans std Regular as a reference. I adjusted the strokes going lower than the baselines to be on the baseline and adjusted the height of the ascenders as well.

Fig. 2.24: Finding Type, Baseline & Ascender Adjustment

I flipped the thickness from top to bottom as when it was looking more horror, sharp and edgy. I also tweaked the design a bit more for it to be an iteration of the plants/leaves.

Fig. 2.25: Finding Type, Additional Adjustments

Lastly, I added a thin stroke to the characters.

Fig. 2.26: Finding Type, First Attempt

During my feedback session Mr. Vinod approved all the letters. Following are the final designs.

Fig. 2.27: Finding Type, Letter A Final (JPEG)

Fig. 2.28: Finding Type, Letter H Final (JPEG)

Fig. 2.29: Finding Type, Letter K Final (JPEG)

Fig. 2.30: Finding Type, Letter M Final (JPEG)

Fig. 2.31: Finding Type, Letter X Final (JPEG) 

Following are the PDF compilation of all 5 Characters.

Fig. 2.32: Finding Type, Final Characters (PDF)

Exercise 02: Type & Play – Part 02: Type & Image

Week 04 – 16/09/2020

We were tasked with integrating typography into an image of our choice. I decided on using “Let’s Get Lost” as my phrase and an aerial image.

Fig. 2.33: Type & Image, Phrase & Image

To blend the type into the image, I used masking tool and erased off the baselines of the characters. 

Fig. 2.34: Type & Image, Blending the Type

I added the shadows later to blend it in further. 

Fig. 2.35: Type & Image, First Attempt. 

Week 05 – 23/09/2020

During the feedback session I was told the design is a bit basic and to add a translucent element to the top of the characters. Since the image looks like it was captured in the morning, I decided to give the letters a fogged-up glass effect.

Fig. 2.36: Type & Image, Final Design (JPEG)

Fig. 2.37: Type & Image, Final Design (PDF)

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FEEDBACK

Week 01 – 26/08/2020

General Feedback: - N/A -

Specific Feedback: - N/A - 

Week 02 – 02/09/2020

General Feedback: The numbers need to be downsized by 0.5pt compared to the size of the text. Paragraph spacing can be adjusted depending on the layout and remaining white space on the page. Stoke width of line used should be no more than 0.5pt. The body text should be sized in between 8pt to 12pts. Title size can be adjusted as per our design. Random system should feel chaotic and take few seconds to see the information.

Specific Feedback: For Axial, Reduce the number size, everything else is fine. Radial, for design 2 a little too much crammed in the tittle. Some of the text can be placed out to fill the empty spaces. Also, the information needs to be grouped accordingly, “Open public lectures” + Title, don’t mix with the venue. More paragraph spacing between the time and name of the speaker. Dilatational System is good, no problems. Random system is not random at all, need to work on it. In the Grid system, 1^st design, split the information to balance out the layout. For 2^nd design, bunching of information that is not relevant to each other need to be changed. Add more leading and spacing and having too many alignments disconnects the flow of the layout. Transitional, good, reduce the number point size. Modular system needs to have a base unit, and everything should be in the same base unit. The content should not go into the column interval. No need to cut off the date, have it in the same line. Bilateral all good.

Week 03 – 09/09/2020

General Feedback: - Absent -

Specific Feedback: - Absent -

Week 04 – 16/09/2020

General Feedback: - Absent -

Specific Feedback: - Absent -

Week 05 – 23/09/2020

General Feedback: Make sure all the files on e-portfolio are visible public. Don’t use a background for key artworks. When doing a key artwork for the first time, it needs to work in black and white. If it does not work in black and white it will not work in color.

Specific Feedback: A bit basic. Use a bit of translusive element at the top of the letters.

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REFLECTIONS

Week 01 – 26/08/2020

Experience: This was the first online Typography class I attended. I found it useful having the lectures pre-recorded as I kept on going back to the videos when I come across something I didn’t quite understand.

Observation: I have seen many typographic posters before without knowing they were all designed based on a typographic system. Now when I see such a poster, I am able to identify which system it is and this helps in juxtaposition when coming up with new designs.

Findings: Learned a lot more about typography and its systems this week. Besides the lecture, while doing the exercises, I referred to online materials and saw different variations of the same systems. This allowed me to understand that there are a lot more variations to these systems. 

Week 02 – 02/09/2020

Experience: The exercise allowed me to practice some of the things I had forgotten about using InDesign. Definitely helped improve my skills. As someone who is very used to neat compositions, it a big challenge when using the random typographic system.

Observations: Grouping of textual information need to be done carefully as some fields may not be relevant to each other.

Findings: The hardest typographic system for me to incorporate at first was the modular system. But once I got a better understanding and how to utilize it, I was able to come up with a very satisfying design that made the system very likable.

Week 03 – 09/09/2020

- Absent -

Week 04 – 16/09/2020

- Absent -

Week 05 – 23/09/2020

Experience: Using type and image was something I was already familiar with. I took it too carefree that I got the feedback that it was too basic.

Observation:  There many ways type can be incorporated into an image. The image needs to be studied to see how to relate both the elements together. As everyone in class had a different approach, I observed multiple directions that can be taken.

Findings: A little bit of commitment can make a big difference in you designs. 

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FURTHER READING

Week 01 – 26/08/2020

Typography Referenced (Page 207 – Page 213)
Typographic Principles, by Jason Tselentis

Fig. 5.01: Typography Referenced, Typographic Principles, by Jason Tselentis

Design principles and elements such as contrast in size, shape, tone, placement and color play an important role in the final composition of an artwork. This chapter focuses on which of these principles should be used to expand our skills. It also talks about page formats, typographic selections, reading direction, type placement, the grid, etc.

One interesting part I came across was The Golden Section in page formats. The golden section is this ration between two numbers: 1:1.618. Since ancient times, this ratio has been used to create harmonious relationships between graphic elements placed on the page.

Fig. 5.02: Typography Referenced, The Golden Section, Page 211

Week 02 – 02/09/2020

Typography Referenced (Page 211 – Page 213)
Typographic Principles – Typography Selection, by Jason Tselentis

Fig. 5.03: Typography Referenced, Typographic Principles – Typography Selection, by Jason Tselentis

Under typography selection, one important point that was stated is that, the best method to decided which typeface to use is to have a clear understanding of its application. This is understandable as a type used for display texts are not suitable for contents of a novel. Text type are designed for the purpose of uninterrupted reading which can be seen throughout different publications. When using these types for a book, it is important to consider the line length, word spacing, and leading as they all factor into the readability of the text.

Display type on the other hand needs to quickly catch readers’ attention. It also needs to be legible, but as the reader can decipher the small chunks of type rather quickly, legibility may not be as important as with the text type.

When working with different typefaces we need to pay attention to even the smallest attributes as they can make a difference when put together with another typeface. 

Week 03 – 09/09/2020

Typography Referenced (Page 213 – Page 218)
Typographic Principles – Reading Direction & Scanning, by Jason Tselentis

Fig. 5.04: Typography Referenced, Typographic Principles – Reading Direction & Scanning, by Jason Tselentis

As we are accustomed to the western culture’s written languages, we tend to look at the upper left-hand of the page. We move from left to right and then diagonally down to the following line. This format is used in various materials ranging from, books to digital content on the internet. A focal point maybe used in a composition to attract a viewer’s attention instead of having them scan from left to right. This is normally achieved with the use of contrast in size, shape, typeface, color, and texture.

The examples share under this section helped in understanding what was covered in lectures. I was able to observe a wide range of compositions that employed variations of contrasts. 

Week 04 – 16/09/2020

Typography Referenced (Page 219 – Page 221)
Typographic Principles – Free Placement & The Grid, by Jason Tselentis

Fig. 5.05: Typography Referenced, Typographic Principles – Free Placement & The Grid, by Jason Tselentis

When looking at placement of typographic elements, different designers take different approaches. Sometimes this is heavily influence on the type of media they work on. Regardless of the type of layout, free positioning the elements within the composition can make it exciting and dynamic.

The grid is the most commonly used typographic layout. It allows designers to create compositions with a sense of unity and variety. The designer has the creative freedom of deciding on structure of the grid they will be using. Although the number of rows and columns are not set in stone, there are a few things a designer must consider when creating a grid:

• Media 
• Format  
• Use 
• Image Size 
• Typographic Scope 
• Word Count
• Expandability

When using a grid, it is important to understand the anatomy of it. How the lines across the X-axis intersecting the lines on the Y-axis created modules need to be comprehensible to the designer. As these modules become a part of a larger system. When the grid system is used successfully it helps in achieving compositional unity and variety and as well as functionality.

As I read more about the grid system, I always feel like there is more to the system. Regardless of the book I refer to, the system is full of fascinating potential and details. It helps me to make use of the system while working on exercises and even on assignments from other modules. 

Week 05 – 23/09/2020

Typography Referenced (Page 222 – Page 225)
Typographic Principles – Hierarchy, Unity & Variety, by Jason Tselentis

Fig. 5.06: Typography Referenced, Typographic Principles – Hierarchy, Unity & Variety, by Jason Tselentis

Hierarchy can be used as levels of importance of the textual information on a composition. This can be achieved through, letterform size, weight, design characteristic, color, contrast, position and what not. These factors exist also in relation the layout of the composition such as the margin space as well as the use of imagery and line spacing. For animation, hierarchy can be built on the duration of visibility of the textual information.

When differing elements on a format looks like they belong together, it is because of unity. It is a way of showing that these elements are interacting with each other and are parts of something whole and complete. Variety is as mentioned before, an effective tool in creating hierarchy. By variating the size, tone, color, placement and such created variety. It is important to keep check of the level of variety as if over done it could frazzle the reader.