Advanced Typesetting Task 1: Typesetting Systems, Type, and Playback

 April 22, 2024 - (Week 1 - Week 4)

linchenyi/0367008

BA (Hons) Advanced Typography/Bachelor of Design in Creative Media

Project 1: Printing Systems and Typing and Games

TABLE OF CONTENTS

1. Lectures

2. Instructions

3.Exercise

4.Feedbacks

5. Reflections

6. Further reading

1.LECTURE

Lecture 1: Layout System

In this lecture, eight basic systems in layout design are explained: axial, radial, extended, random, grid, transitional, modular and bilateral systems.

Printing systems are complex and print organization involves complex interdependencies between elements for effective communication. Because the various elements depend on each other: hierarchy, reading order, legibility and contrast to function properly also come into play in relation to printing systems.

Typographic systems consist of a unique set of rules that provide a sense of purpose and focus on guidance and decision-making.

While some may view this framework as limiting for intuition, it provides a solid framework to guide learners in their exploration as they develop and mature over time.

Axis system: All elements are organized to the left or right of a single axis.

Fig 1.1 Axis System Example, Week 0 (April 24, 2024)

Radial system: all elements extend from the focal point.

Fig 1.2 Radial system Example, Week 0 (April 24, 2024)

Expansion system: all elements will expand in a circular fashion from a central focus

Multiple circles with information on either side or in line with the circles.Place it in a layered manner.

Fig 1.3 Expansion system Example, Week 0 (April 24, 2024)

Random system: elements have no specific pattern or relationship.

Fig 1.4 Stochastic system Example, Week 0 (April 24, 2024)

Grid System: Elements will be arranged in a system divided horizontally and vertically.

Fig 1.5 Grid system Example, Week 0 (April 24, 2024)

Transition system: information system hierarchical binding.Basically isolating information within certain bonds.

Fig 1.6 Modular system Example, Week 0 (April 24, 2024)

Modular system: a series of non-objective elements built from standardized units.

Fig 1.7 Transition system Example, Week 0 (April 24, 2024)

Bilateral system:A series of non-objective elements constructed in standardized units.

Fig 1.8 Bilateral system Example, Week 0 (April 24, 2024)

Summary: Many designers should focus on network systems

• system design without realizing the potential of other systems.
• Understanding how these systems are organized can free designers from the constraints of traditional grids, allowing for more diverse and fluid printed information.

Fig 1.9 Summarize, Week 0 (April 24, 2024)

Lecture 2：Layout composition

Design composition principles

Principles of design composition refer to the basic guiding principles used in the design process to combine and arrange elements to create visual effect and impact. These principles include abstract concepts such as isolation, repetition, symmetry, and perspective, which are often more applicable to visual images than to textual information.

• Isolate: By placing certain elements alone on the page, they make them stand out visually and grab the viewer’s attention.
• Repetition: Reusing similar elements or design patterns throughout a design to enhance consistency and visual impact. By reusing similar shapes, colors, or patterns, you can create a unified and coherent design, making it easier for viewers to recognize and understand.
• Symmetry: Arranging elements symmetrically along a horizontal or vertical axis to create a sense of balance and stability. Symmetrical composition is often considered a traditional and classic design style.
• Perspective: Use distance and perspective changes to create a sense of depth and three-dimensionality.

Fig 2.1 Emphasis on typography and composition,Week 2 (May 1, 2024)

Rule of thirds

The rule of thirds is one of the basic principles of photographic composition. It divides the picture into 3 columns and 3 rows, forming a nine-square grid. At the intersections of this grid, photographers can place subjects or important elements to draw the viewer's eye and create a balanced and compelling composition.

Fig 2.2 The Rule of Thirds in Print Composition,Week 2 (May 1, 2024)

Printing system

The 8 systems used in typography include the grid system (or raster system), which is the most practical and widely used. It is further enhanced by the (Modernist) typographic style. Grid systems continue to gain popularity due to their versatility and modular nature, allowing for an unlimited number of adaptations. 

Fig 2.3 Grid system,Week 2 (May 1, 2024)

In this postmodern printing system. Designers focus more on visual effects and artistry rather than traditional legibility and readability. This style of design often sacrifices the clarity of text and the logic of layout, and pays more attention to visual impact and innovation.

Randomness, chaos and asymmetry have become the distinctive features of postmodern printing systems. Designers boldly used non-traditional layout methods and broke traditional typography rules.

Fig 2.4 Paula Schell (left); Jonathan Barnbrook (center); David Carson (right),Week 2 (May 1, 2024)

Other models/systems

Environment grid

Environmental grid systems are built on an existing structure or combination of structures. Designers first extracted the key curves and lines that make up these structures and then organized the information around these superstructures. This approach includes not only objective but also non-objective elements to create a unique and exciting visual mix. 

Fig 2.5 Brenda McMannus' Environment Grid Example,

Excerpted from the book Print Form and Communication, page 211,Week 2 (May 1, 2024)

Designers can use this system to break out of traditional typographic frameworks and create compositions full of texture and visual stimulation. One example is Brenda McMannus's Environment Grid example, which shows how such a system can be used to create eye-catching and artistic design pieces.

Form and movement

The form and movement system builds on the existing grid system, encouraging designers to explore different compositions and think of layouts as dynamic compositions with a sense of movement. This system emphasizes the dynamics and fluidity of the layout. Designers can explore the connections between layouts by trying different compositions, and create design works with vitality and vitality. The system of form and movement provides a unique way to express information, attract the viewer's attention through the dynamics and fluidity of the layout, and convey an active and energetic visual experience.

The gradual introduction of new elements can gradually increase the complexity and appeal of a design. This incremental approach can help designers gradually build visual hierarchy and guide the audience’s attention step by step. For example, first add a new color, and then gradually introduce elements such as images, dummy text, etc. to increase the diversity and richness of the design.

Fig 2.6 Form and movement,Week 2 (May 1, 2024)

Fig 2.7 Form and movement,Week 2 (May 1, 2024)

Lecture 3: AdTypo_3_Context and Creativity

A study of handwriting and typography

By studying handwriting we can see how the first mechanically produced letter forms were designed to directly imitate handwriting. Script became the basis or standard for the form, spacing, and conventions that mechanical lettering attempted to imitate. Therefore, a deeper understanding of the development of handwriting can help us understand the evolution of mechanical lettering and why specific glyphs and arrangements were adopted.

The development of Western calligraphy

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

Movable type printing is a historically significant innovation that was first developed in China but was realized in Korea. It is believed that movable type printing first appeared between 1000 and 1100 AD, and the Diamond Sutra is one of the early works of this technology. After that, the Koreans established a foundry between 1300 and 1399 AD, using bronze materials to cast movable type, and realized the production of movable type printing.

Fig 3.1 Cuneiform and Hieroglyphics,Week 3 (May 8, 2024)

Fig 3.2 Movable type,Week 3 (May 8, 2024)

The Development of Oriental Calligraphy

The development of oriental calligraphy is a long and rich historical process, which embodies the wisdom and aesthetics of oriental culture. But the colonial rule of the East by the West has brought challenges to the development of its heritage, cultural traditions, literature, arts and crafts, language and writing.

In South Asia, the emergence of writing in the Indus Valley Civilization (IVC) (3500-2000 BC) is considered one of the oldest writings in the "Indian" region.

Fig 3.3 Indus Valley Civilization Script,Week 3 (May 8, 2024)

Brahmi script (450-350 BC) was one of the earliest writing systems that developed after the Indus script. It is one of the most influential writing systems in history, and all modern Indian scripts and hundreds of scripts found in Southeast and East Asia are derived from Brahmi script.

Fig 3.4 Brahmi,Week 3 (May 8, 2024)

The oldest writing system in Southeast Asia is derived from Indian scripts. The most important of these is Pallava, a South Indian script originally used to write Sanskrit and Tamil.

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

Fig 3.5 Laguna copper plate inscription,Week 3 (May 8, 2024)

Kawi is Indonesia's most important historical script, based on Nagari but used to write Javanese's native language. The Kawi script was used to connect different kingdoms, had widespread influence, and became the basis for other scripts in Indonesia and the Philippines.

Incung is the original writing system of the Kerinci region, which originated from a script group called Rencong in the South Sumatra region.

Fig 3.6 Yin Kang,Week 3 (May 8, 2024)

Other scripts that have been integrated into peninsular Malay communities in Indonesian communities include Rajang, Batak, Bugis (Lontala) and Javanese.

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

In modern Malaysia, Jawi has become even more important as it is the script in which all our famous literary works are written. Unlike Indonesia, Malaysia does not have a large number of early Jawi inscriptions, leading some to mistakenly believe that Jawi is "tulisan asal Melayu" (original Malay script).

Software giants like Google are hiring large numbers of Asian programmers and designers to create an increasing number of vernacular and multi-script fonts. These fonts were designed to facilitate exchange and communication between vernacular and Latin scripts.

One example is Ek Type’s Baloo multi-script font, which was developed by an Indian team and supports text writing in multiple languages.

Programmers and Type Design

In Malaysia, the website murasu.com, led by programmer and typographer Muthu Nedumaran, has developed an innovative system that enables different types of vernacular writing systems to be coded and used on mobile phones and desktops.

In addition, Malaysia's local designer group Huruf specializes in the design of localized fonts, specifically Latin and vernacular alphabets for use on walls and signage.

Fig 3.7 Baloo, a multi-script font for Ek Type,Week 3 (May 8, 2024)

Local movements and individuals

In India, organizations such as Ek Type and Indian Type Foundry have also made outstanding achievements in local font development and made important contributions to India's digitalization and font revitalization. These organizations are committed to developing fonts that support multiple languages and promote communication and cultural heritage between different languages and scripts across India.

Lecture 4: AdTypo_4_Design Type

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

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

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

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

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

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

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

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

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

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

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

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

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

The general process of type design is as follows:

1. Research:

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

2. Sketch:

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

3. Digitalization:

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

4.Test:

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

5. Deployment:

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

The following considerations are also important when designing font structures:

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

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

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

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

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

2. INSTRUCTIONS

Task 1: Exercise 1 - Printing System

In this exercise we are asked to:

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

3.EXERCISE

3. 1 Exercise 1: Printing System

In the first week of the course, we were asked to try creating a layout for the Axial system.

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

Fig 2.1 Axial Systems, Week 2 (April 30, 2024)

I also layered some text on top of each other using different colors to bring out the clutter. For my first layout, using italic text and scaling letters and numbers can also be an effective way to convey information dynamically. Numbers convey information. For Layout 2, there are light to dark text forms stacked on top of each other.

Fig 2.2 Stochastic system, Week 2 (April 30, 2024)

In the layout, the text is layered with horizontal lines and slowly transitions from context to text. However, this attempt was too regular. After my teacher’s comments, I made slight corrections. I tried the balance between text and whitespace in different directions. The layout ends up having multiple lines of text with wavy graphic elements. However, there are too many wavy elements in the layout. The text doesn't look clear enough.

Fig 2.3 transition system, Week 2 (April 30, 2024)

I made each unit a fixed 5 x 5, causing the content to be limited and difficult to fully match the intended design (there would be a lot more when the theme is enlarged). In the picture on the right, I don't know how to knit into a more suitable cell. I resized the module appropriately to better accommodate the content.

Fig 2.4  Modular system, Week 2 (April 30, 2024)

In Layout 1, I created guide lines from the center point of the circle to ensure that each line of text extends exactly from the focal point into a spiral cross form. In Layout 2, I extend each line of text from focus based on the grid and guides. The composition's lines of text are aligned with the circle's focus points, but extend out around each focus point of the circle. Use space wisely and ensure there is enough spacing between content to avoid a visual feeling of crowding.

Fig 2.5 Radial system, Week 2 (April 30, 2024)

In the first attempted layout, a central vertical axis was used, while in Layout 2 there are two vertical axes. However, understanding the need to follow the feedback requirements, I needed to create a new layout for the two-sided system to ensure everything was laid out around a single central axis.

Fig 2.6 Bilateral system, Week 2 (April 30, 2024)

In Layout 1, enlarging the title draws attention and makes it easier to capture important information. At the same time, using a 4x6 grid layout ensures that content is neatly arranged and makes the design look more organized.

In Layout 2, using a grid dual vertical axis symmetrical layout can help achieve symmetry and balance. This layout ensures that content is visually evenly distributed.

Fig 2.7 Grid system, Week 2 (April 30, 2024)

For my first layout, I started at the center origin and spread outward, expanding around the dot. The second layout, the content will be distributed around it. To ensure legibility, I flipped some of the text so it's also easier to follow. For the third layout, I decided to use multiple half-circle placements. I have bolded and colored some of the main text to ensure it is easily understood by readers.

Fig 2.8 Expansion system, Week 2 (April 30, 2024)

Fig 2.9 Eight major systems, Week 2 (April 30, 2024)

The corrected eight system diagrams：

Fig 2.10 Revised system layout, Week 2 (May.3, 2024)

Fig 2.11 Final Axis System - JPEG, Week 2 (May.3, 2024)

Fig 2.12  Final Radial System - JPEG, Week 2 (May.3, 2024)

Fig 2.13 Final Inflated System - JPEG, Week 2 (May.3, 2024)

Fig 2.14 Final Grid System - JPEG,Week 2 (May.3, 2024)

Fig 2.15 Final modular system - JPEG,Week 2 (May.3, 2024)

Fig 2.16 Final Transition System - JPEG, Week 2 (May.3, 2024)

Fig 2.17 Final Random System - JPEG, Week 2 (May.3, 2024)

Fig 2.18 Final Bilateral System - JPEG, Week 2 (May.3, 2024)

Fig 2.19 Final Task 1 - Exercise 1: Typesetting System - PDF, Week 2 (May.3, 2024)

Fig 2.20 Final Task 1 - Exercise 1: Typography System (Grid and Guides) - PDF, Week 2 (May.3, 2024)

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

Part 1: Find the type

In the image search task in week 3, we were asked to select an image that could be a man-made object (e.g. chair, glass, etc.), a structure (e.g. building), or a natural object (e.g. human, landscape, leaf, plant) , shrubs, clouds, mountains, rivers, etc.). We then need to extract the letters from the selected image and combine these letters into a word as much as possible. This task helps exercise our ability to observe images and discover hidden textual elements within them.

While browsing through pictures, I came across a photo of the water surface of a swimming pool. I was interested in the unique ripple shapes formed by the water's surface, so I decided to extract letter forms from them.

Fig 3.1 Selected water texture map Week 3 (May 10, 2024)

Letter extraction:

I extracted the letters "D", "O", "Y", "A", and "E" based on the texture of the water surface.

I resized the letter forms and placed them on the guides.Keep it about the same size.

Fig 3.2 letters on guide, Week 3 (May 10, 2024)

I chose Gill Sans Std Bold as my reference font. I plan to create a wide font that maintains consistency in horizontal and vertical stroke widths.

Fig 3.3 Reference font and extracted letter forms overlap, Week 3 (May 10, 2024)

Fig 3.4 Letters tracking progress, Week 3 (May 11, 2024)

The third week

The font was improved after feedback

Fig 3.5 Overall progress in refinement attempts, Week 3 (May 11, 2024)

1. Use the smoothing tool to reduce the number of strokes and make the letters smoother.Get rid of the awkward sharp corners at the top of the letter A.
2. The upper and inner outer contours of the letter O are appropriately adjusted..
3. Use the smoothing tool to even out the entire image and reduce the number of strokes.

Final Task 1 - Exercise 2: Typing and Games  Find Types

Fig 3.6 The final extracted letter form, Week 3 (May 11, 2024)

Fig 3.7 Letter D , Week 3 (May 11, 2024)

Fig 3.8 Letter O , Week 3 (May 11, 2024)

Fig 3.9 Letter Y , Week 3 (May 11, 2024)

Fig 3.10 Letter A , Week 3 (May 11, 2024)

Fig 3.11 Letter E , Week 3 (May 11, 2024)

Fig 3.12 Final Task 1 - Exercise 2: Typing and Games (Find Types) - PDF, Week 3 (May 11, 2024)

Part 2: Types and images

For this task, we want to combine the final extracted letter forms with related images of the original subject from which we obtained the letter forms. The purpose is to enhance the interaction between the font and the selected image. The text must be intertwined with the image in a symbiotic relationship. The final result should have a size resolution of 1024 x 1024 pixels (300 ppi).

Putting my font into the image, I found that making the image of ripples on the water black and white didn't suit me as well as the font.

Fig 3.13 Attempt #1 , Week 3 (May 12, 2024)

I changed the background and found that the background color was too light and the white text could not be seen clearly. I adjusted the saturation and brightness of the background image.

Fig 3.14 Attempt #2 , Week 3 (May 13, 2024)

Fig 3.15 Poster, Week 3 (May 13, 2024)

Suggestions for further improvements

I find that fonts sometimes blend too much into the background, making them less clear at first glance. To fix this, I added a 3D material to make the font stand out more, and changed the saturation of the background color to make it brighter. These adjustments significantly improve the readability of the font and the visual impact of the overall design.

Fig 3.16 Posters being corrected, Week 4 (May 14, 2024)

Final adjusted poster:

Fig 3.17 Final poster, Week 4 (May 14, 2024)

Final adjusted poster pdf :

4. FEEDBACK 

Week 2：

Specific feedback: 

In the online class, I received comments from the teacher on my system design, including the following points:

• Axial system: To ensure a cohesive design, the spacing between each section needs to be appropriately widened to convey the importance of different information and make the design clearer and easier to read.
• Expansion system: The design of the circles needs to be unified so that they flow in one direction. The same circle should contain different information, and the radius of the circle can represent different meanings.
• Radial System: The design of this system performs well and has no areas for improvement.
• Random system: Edge stretching and letter sizing can improve the readability of information.
• Grid system: Ensure text is aligned between columns to maintain overall visual unity.
• Transition systems: Content needs to be placed in higher contrast locations to ensure it is better noticed and to have better control over the use of space.
• Modular system: The design of the edges does not fit into the overall unit structure and may need to be readjusted.
• Bilateral system: The design should be more balanced, ensuring that the design on both sides is symmetrical and consistent to enhance the overall coordination.

These comments help me improve and improve the system design after class to make it more consistent with the requirements and improve the quality of the design.

Week 3：

Specific feedback: 

After the font-finding class, I received some feedback. The gentleman thinks that the letter D and the letter O look very good, but the top of the letter A looks a bit awkward in comparison. To improve this, it is recommended to do some smoothing on the outer outline of the letter A to make it look more like the shapes of the letters D and O.

Week 4:

General feedback:

 Exercise 2: Typing and Games - Words and Images, with specific feedback, including the following:

Refinement of the font: The refinement of the font has been well done, with the designer successfully incorporating the curves and character of the ripples into the font. This design allows the letters to blend well with the image, achieving the desired effect.

Fusion of typeface and image: These letters appear harmonious and unified in the overall design when combined with the image.

Specific feedback: 

Necessary adjustments: The only adjustment needed is to add some highlights on the 3D letters. This will help enhance the three-dimensional feel of the letters.

5. FURTHER READING 

《Typography Systems》is a professional book on typography design written by Kimberly Elam. This book systematically discusses the visual system and rules in typography design, aiming to help designers better understand and apply various principles and techniques of typography design.

The book first introduces the basic elements of typesetting, including font shape, word spacing and line height, etc., and explains their importance and role in typesetting. Subsequently, the author explores the structure, characteristics and relationships between different glyphs of fonts, guiding readers on how to choose fonts suitable for specific design purposes.

The book then provides an in-depth discussion of proportion and proportional systems in layout design, covering design principles such as the golden ratio, symmetrical and asymmetrical layouts, and how to apply these principles in typography to create visual balance and appeal.

In addition, the book also introduces the use of typography systems and grids, including how to use grid systems and grid systems to organize information and build a clear design structure. Through rich examples and case studies, readers can better understand and apply various typography design principles and techniques.

To sum up, "Typography Systems" provides designers with a comprehensive visual design reference to help them improve the quality and effect of typography design works, thereby better meeting various design needs.

《Typography Systems》

The book《Typography Systems》starts from the basic elements of typography design, including fonts, layout and typography layout, and deeply explores the application of visual systems and laws in design. Here are some of the book’s main contents and features:

• Font design principles: The author introduces the structure, characteristics and classification of fonts in detail, discusses the relationship between different glyphs and how to select and match fonts to achieve design purposes. Through cases and illustrations, readers can understand the application of different font styles in typography design.
• Principles of Layout Design: The book explores the principles of proportion, symmetry, and asymmetry in typography design, and how to use these principles to build visual balance and appeal. Readers will learn how to guide readers' attention through good layout design and improve the effect of design works.
• Typographic Systems and the Web: The author introduces the application of grid systems and raster systems in typographic design and how they can be used to organize information and build a clear design structure. By understanding and using typography systems, designers can manage and present information more effectively.
• Examples and case studies: The book's rich examples and case studies demonstrate the application of different design principles and techniques. Through the analysis of actual design works, readers can more intuitively understand and learn various visual systems and laws in typography design.

6. REFLECTION 

Experience

Through the practice of typography system layout design in inDesign in the first two weeks, I realized the importance of consistency and efficiency in the design process. When working with a typographic system, I find it slightly challenging to create a cohesive layout that follows a set of rules and guidelines. I find that testing different typography systems and adjusting as needed, different system layouts helps me find the balance between readability and visual appeal.

Result:

I understand and utilize the importance of typographic systems and design principles in creating successful layouts. I was able to explore more possibilities.

Experience:

Typing and Games (Find Types) This exercise starts with a completely unrelated image and extracts it into letter form. Before extracting letters, you need to carefully observe the unique shapes and curves in the image. The letterforms were extracted from the image and it was important to retain certain elements of the letterforms to ensure they remained recognizable and consistent with the overall design.

Observe:

When analyzing the image, you need to pay attention to the subtle changes in the water ripple texture. At first, the texture I extracted was very thin, but later I found that the range of the texture can be expanded. The extracted curved (bubble-like) letterforms showed the possibility of them being curved in a more consistent way, so I developed this element as the main style of the letterforms.

Result:

Through these two exercises, I gained a deep understanding of the importance of consistency and efficiency in the design process, and became aware of the impact of different printing systems and design principles on creating successful layouts. Using InDesign in design allows me to explore and implement various design ideas and learn how to maintain balance and appeal in visual communication. Especially in Exercise 2, I challenged myself to extract and create letter forms from images, improving my attention to detail and creativity. Overall, these exercises not only strengthened my technical skills but also developed my design thinking.