Advance Typography - Task 1: Exercises

April 22, 2025

Advance Typography - Task 1: Exercises

Picture Source: Top 20 Typography FAQs Answered | thefutur, Kristin Lajeunesse

21/04/2025 - 05/05/2025 / Week 1 - Week 4

Aquela Zefanya Soares / 0374377

Advance Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University

LECTURES
INSTRUCTION
TASK

Exercise 1
Exercise 2

FEEDBACK

Week 1
Week 2
Week 3
Week 4

REFLECTIONS

Experience
Observation
Findings

FURTHER READINGS

LECTURES

Typographic Systems

According to Kimberly Elam, there are eight major variations with an infinite number of permutations. These eight major variations are as follows:

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

Fig 1.1 Axial | 7 Essential Typographic Layout Systems by Lucas Czarnecki (Type365) (22/04/2025)

Radial: all elements are extended from a point of focus.

Fig 1.2 Radial | 7 Essential Typographic Layout Systems by Lucas Czarnecki (Type365) (22/04/2025)

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

Fig 1.3 Dilatational | 7 Essential Typographic Layout Systems by Lucas Czarnecki (Type365) (22/04/2025)

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

Fig 1.4 Random | Typographic Systems by Sasilvia Cheong, The Rookies (22/04/2025)

Grid: a system of vertical and horizontal divisions.

Fig 1.5 Grid | Typographic Systems by Sasilvia Cheong, The Rookies (22/04/2025)

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

Fig 1.6 Modular | Typographic Systems by Sasilvia Cheong, The Rookies (22/04/2025)

Transitional: an informal system of layered banding.

Fig 1.7 Transitional | Typographic Systems by Sasilvia Cheong, The Rookies (22/04/2025)

Bilateral: : all text is arranged symmetrically on a single axis.

Fig 1.8 Bilateral | Typographic Systems by Sasilvia Cheong, The Rookies (22/04/2025)

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.

If there's no communication that means there's no point of it being there.

The typographic systems are akin to what architects term shape grammars.

Typographic Composition

Principles of Design Composition

When we think about composition, we think about the dominant design composition, which are emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective.
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.
The ideas mentioned above and the application of these ideas into real-life content (images, textual information and color) on a page or screen can sometimes feel disparate.
Some of these principles are a little more easily translatable than the others.

Fig 1.9 Design Composition (29/04/2025)

The Rule of Thirds

A photographic guide to composition.
It suggest that a frame (space) can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest within the given space.
Realistically no one would ever use the rule of thirds when there are other more favorable options.
Anything in the intersection points becomes the focal point of the layout.

Fig 1.10 Rule of Thirds (29/04/2025)

Typographic Systems

From the 8 systems the most pragmatic and the most used system is the Grid System (or Raster System), which is derived from the grided compositional structure of Letter Press printing.
It was further enhanced by what is now come to be termed as the Swiss (Modernist) style of Typography, with it's foremost proponents being Josef Muller Brockmann, Jan Tschichold, Max Bill, etc.
The Grid System continues to remain popular because of the versality of the system and its (to some degree) modular nature tends to allow an infinite number of adaptations.
Post-modernist era was born in reaction to approach the modernist typography era, a group of younger designer began to question and challenge this notion of order. Chaos, randomness and asymmetry were explored. Legibility and readability were relegated to the back seat.
It's proponents include: David Carson, Paula Scher, Jonathan Barnbrook, etc.
Method: Order was replaced with apparent chaos, but the chaos was exciting and 'new'. Asymmetry, random, repetition, dilatational, and radial systems began to take root.

Other models / systems

Environmental Grid

This system is based on the exploration of an existing structure or numerous structures combined.
Crucial curved and straight lines are extracted.
Designers organize information around a "super-structure."
Incorporates non-objective elements to create unique textures and visual stimuli.
Provides context for the forms developed in the designs.
Context is important because the structures are tied to key environmental features.
These features relate directly to the communicators of the message.

Form and Movement

Based on exploring existing Grid Systems.
Explore various grid options.
Break away from the seriousness of traditional grid application.
View page-turning in books as a slowed-down animation made up of image, text, and color placement.
Placement of forms across multiple pages creates a sense of movement.
The medium (paper or screen) is irrelevant.
Static versions of the form placed on spread (Grids were hidden).
Care was taken to ensure visual connections and surprises on every page.
The forms could represent images, text or color.
The level of complexity increases as newer elements introduced in an incremental fashion: addition of one color then images, then dummy text and so on.

Context & Creativity

Historical Context of Handwriting

Early mechanical type imitated handwriting, which set standards for form, spacing, and conventions.
Tools (bones, brushes, pens) and materials (clay, papyrus, paper) influenced letterforms.

Evolution of the Latin Alphabet

Origins in Proto-Sinaitic (1750 BCE) → Phoenician (sound-based writing) → Greek → Roman alphabet.
Phoenician script was pivotal for shifting from pictorial symbols to phonetic representation.

Early Writing Systems

Cuneiform (3400 BCE): Wedge-shaped marks on clay, left-to-right writing.
Egyptian Hieroglyphs: Combined rebus and phonetic elements, influenced later alphabets.

Greek and Roman Contributions

Greeks added vowels to the Phoenician system; early Greek writing lacked serifs and symmetry.
Roman capitals evolved into rounded, practical forms (e.g., Carolingian minuscule for speed).

Movable Type & Eastern Innovations

China/Korea: Woodblock printing (Diamond Sutra, 868 CE); Koreans pioneered bronze movable type (1300s).
Gutenberg’s press (1440s) built on these ideas but often overshadows earlier Asian advancements.

Western Bias

Colonial academia often marginalized non-Western contributions (e.g., Egyptian, Indus Valley).

Example: Max Müller’s Eurocentric theories on Indian history ignored indigenous contexts.

Eastern Scripts & Legacy

Indus Valley Script (3500 BCE): Undeciphered but sophisticated.
Brahmi Script (450 BCE): Parent of most Indian/Southeast Asian scripts (e.g., Tamil, Thai).
Southeast Asia: Pallava and Kawi scripts influenced Malay, Javanese, and Filipino writing.

Colonial Impact

Western technologies disrupted local scripts (e.g., Jawi replaced indigenous Malay scripts).
Post-colonial neglect led to loss of vernacular typographic heritage.

Modern Revival

Digitization: Efforts by designers (e.g., Mootookootoo in Malaysia, Ek Type in India) to preserve scripts.
Multiscript Fonts: Combine Latin and vernacular scripts for bilingual communication.

Designing Type

Why Design New Typefaces?

Social Responsibility: Improve legibility and solve functional problems (e.g., airport signage, screen readability).
Artistic Expression: Typefaces are a form of creative self-expression, like all art forms.

Case Studies of Iconic Typefaces

Adrian Frutiger’s Frutiger:

Designed for Charles de Gaulle Airport (1968) to ensure clarity at a distance and in motion.
Tested legibility using blurred letters to identify recognizable forms.
Later adapted for digital use (e.g., Celcom/TM logos in Malaysia).

Matthew Carter’s Verdana:

Created for Microsoft (1996) to optimize screen readability at small sizes.
Features pixel-hinting to prevent blurring on low-resolution screens.
Controversially adopted by IKEA (replacing Futura) for its universal legibility.

Edward Johnston’s Johnston Sans:

Commissioned by London Underground (1916) to unify chaotic signage.
Blended Roman proportions with modernist simplicity.
Inspired Eric Gill’s Gill Sans (who later credited Johnston).

The Type Design Process

Research: Study type history, anatomy, and conventions.
Sketching: Analog (pen/paper) or digital (Wacom) to draft forms.
Digitization: Use specialized tools like Glyphs or FontLab (purists avoid Illustrator).
Testing: Prototype rigorously for legibility, spacing, and context (e.g., print vs. screen).
Deployment: Continuously refine post-launch to address real-world issues.

Key Considerations

Purpose-Driven Design: Define the typeface’s use (e.g., text vs. display, signage vs. print).
Visual Corrections:

Overshoots: Curves extend slightly beyond baselines to appear aligned.
Ink Traps: Matthew Carter’s Bell Centennial used these to prevent ink bleed in phone directories.
Spacing (Kerning): Adjust white space between letters for uniform rhythm.

Motivations for Design

Intrinsic: Personal passion or identifying a gap (e.g., Frutiger’s Devanagari font for India’s NID).
Extrinsic: Client commissions or academic assignments.

Challenges & Mindset

Labor-Intensive: Requires obsession with detail (e.g., Carter’s pixel-perfect Verdana).
Cultural Context: Avoid blind appropriation; draw from local heritage (e.g., Malaysian vernacular scripts).

INSTRUCTION

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TASK

EXERCISE 1 - Typographic Systems

In this task, we were required to create 8 typographic systems using Adobe InDesign.

References

Fig 1.1 References (25/04/2025)

Before Feedback

For this exercise, I selected the sketches I liked most and began experimenting with them in Adobe Illustrator. Below is the process for all systems.

Axial

When I was working on the axial system, I wanted to keep it pretty much the same as my sketch. But after asking my friends, one of them said it didn’t really look like an axial system since wasn’t a single axis dominating the composition. I ended up adjusting it, and they said it works now.

Fig 1.2 Axial (Before Feedback) (25/04/2025)

Radial

For the radial system, I didn’t have a clear idea at first. I just experimented based on my sketch to see what would work.

Fig 1.3 Radial (Before Feedback) (25/04/2025)

Dilatational

While working on the dilatational system, I initially wanted to follow my sketch. But then I realized it didn’t look good, so I decided to play around with the composition instead.

Fig 1.4 Dilatational (Before Feedback) (26/04/2025)

Bilateral

For this one, I decided to just follow my sketch without thinking too much.

Fig 1.5 Bilateral (Before Feedback) (26/04/2025)

Random

While working on the random system, I wanted it to have punk vibes, so I decided to fill half of the space with black to contrast the white background.

Fig 1.6 Random (Before Feedback) (26/04/2025)

Modular

With the modular system, I mostly stuck to my sketch and didn’t experiment much with the composition.

Fig 1.7 Modular (Before Feedback) (28/04/2025)

Grid

For the grid system, I honestly wanted to follow my sketch, but I felt it was better to leave one column empty and add some graphic elements to make it more interesting.

Fig 1.8 Grid (Before Feedback) (29/04/2025)

Transitional

I feel like this one was the hardest because I had a tough time understanding the system. When I asked my friend, she said the angle looked weird and confusing, and suggested I make it straight instead. So, I ended up adjusting my composition.

Fig 1.9 Transitional (Before Feedback) (29/04/2025)

After Feedback

After getting the feedback, I realized I was too focused on making my work look good and didn’t really think about how people might feel when they see it. I started doing more research to better understand the feedback our class got, and I also looked into artworks from Kimberly Elam’s book to learn more about where I went wrong and how I can improve.

Axial

Even though Mr. Vinod said my axial system could work, I decided to change the angle from 45 degrees to straight because I realized it was difficult to read.

Fig 1.10 Axial (After Feedback) (02/05/2025)

Radial

I realized I put too many graphic elements in my work, so I removed some of the lines. But I kept a few since I still wanted it to have the impact and feeling I was going for.

Fig 1.11 Radial (After Feedback) (02/05/2025)

Bilateral

I realized that I didn’t really understand how the bilateral system works. I was too focused on the other systems and forgot to do enough research on this one. In the end, I did more research and asked my friends to check if I applied the bilateral system correctly.

Fig 1.12 Bilateral (After Feedback) (02/05/2025)

Random

Mr. Vinod mentioned that the black-and-white contrast in the background could strain the viewer’s eyes, so I removed it and rearranged my composition while keeping the heading intact.

Fig 1.13 Random (After Feedback) (02/05/2025)

Final Outcome

Fig 1.14 Axial (Final) (02/05/2025)

Fig 1.15 Radial (Final) (02/05/2025)

Fig 1.16 Dilatational (Final) (02/05/2025)

Fig 1.17 Bilateral (Final) (02/05/2025)

Fig 1.18 Random (Final) (02/05/2025)

Fig 1.19 Modular (Final) (02/05/2025)

Fig 1.20 Grid (Final) (02/05/2025)

Fig 1.21 Transitional (Final) (02/05/2025)

Fig 1.22 Final Outcome (PDF) without guides (02/05/2025)

Fig 1.23 Final Outcome (PDF) with guides (02/05/2025)

EXERCISE 2 - Type & Play

References

All references are based on seniors' artwork in KreatifBeats.

Exercise 2A

Before Feedback

For this exercise, I chose a thunderstorm as my image source and started looking for shapes I thought could be refined into a letterform. Honestly, I didn’t put my best effort into this, I just wanted to finish the assignment quickly (I’ve reflected on that mistake after this).

Fig 2.1 Letterform submission (Before Feedback) (06/05/2025)

After Feedback

Since I didn’t put my best into the previous one, I already expected to receive a lot of feedback. I felt like I couldn’t explore much with the original image, so I decided to change it. While I was looking for a new idea, one of my friends happened to complain about their study on water pollution. That’s when I suddenly got the idea and started researching oil spills. Even though I know they’re harmful to the environment, I found them visually beautiful and decided to dissect and extract my letterform from that.

Fig 2.2 Image extraction (10/05/2025)

I played around with the shape I extracted and tried to create the word “panic,” because I thought it would be a good idea to bring in a nature context, since oil spills are harmful to oceans.

Fig 2.3 Process (10/05/2025)

This is the detailed process of how I created my letterform.

Fig 2.4 Process 2 (10/05/2025)

Exercise 2B

For this exercise, we had to create a movie poster using our letterform and an image that’s still related to the same topic. It didn’t have to be the exact same image, just from the same context. Since I chose oil spills, I used a different image but still from that theme. I went with a simple design for my poster.

Fig 2.5 Poster Process (11/05/2025)

I felt like it looked too plain, so I added a holographic effect to my letterform in Adobe Photoshop to make it more interesting.

Fig 2.5 Poster Process 2 (11/05/2025)

Lastly, I added the holographic letterform to the poster.

Fig 2.5 Poster (11/05/2025)

Final Compilation

Fig 3.1 Original Image (Left) and Dissection (Right) (10/05/2025)

Fig 3.2 Overall Process (10/05/2025)

Fig 3.3 Comparison Between the Reference and Final Letterform (10/05/2025)

Fig 3.4 Reference Typeface (10/05/2025)

Fig 3.5 Final Letterform Refinement (10/05/2025)

Fig 3.6 Original Extraction (Top) and Final Letterform (Bottom) (10/05/2025)

Fig 3.7 Exercise 2A PDF Compilation (10/05/2025)

Fig 3.8 Final Poster (10/05/2025)

Fig 3.7 Final Poster PDF (10/05/2025)

FEEDBACK

Week 1

General Feedback: This week, Mr. Vinod briefed us to watch and document the video lectures and explained the Week 1 assignment.

Week 2

Specific Feedback: Mr. Vinod said that my 8 systems were okay. However, the graphical elements in the radial system were too strong, and I need to reduce them. The bilateral system is wrong, and the random system has a high white-black contrast that could strain the viewer's eyes, so I need to fix it.

General Feedback: In today's class, Mr. Vinod told us to avoid extreme angles, as they are unnecessary. He also reminded us to be mindful of awkward spaces. A good design must command the space. Don't let the graphic elements overwhelm the information, as they can distract the viewer's attention. Don't forget the margin.

Week 3

Specific Feedback: Mr. Vinod said that I need to study the nature of my reference, and I can't oversimplify the design.

General Feedback: Mr. Vinod told us to be careful with the consistency, and if we find things too consistent, we can add some adjustments.

Week 4

Specific Feedback: Mr. Vinod said my title is good because it correlates with the picture source. However, the credit isn't legible, so I need to change it.

General Feedback: Mr. Vinod reminds us to make the information legible and not to forget to set the margin and grids. After the feedback session ended, he briefed us about the next task.

REFLECTIONS

Experience

Personally, I found this task both challenging and fun. Although Mr. Vinod had warned us since the first semester and reminded us again at the beginning of the second semester, I took it for granted. I didn't expect it would be this hard, and we're not even halfway through the semester yet. This task was really tiring.

Back in my first semester, I made the mistake of not paying attention to Mr. Vinod's instructions. Unfortunately, I made the same mistake during Exercise 2. The past few weeks have been overwhelming for me, so I just did whatever I could and wasn't able to give it my all. Mr. Vinod asked whether I spent an hour on the exercise, and honestly, I understood why he asked that. If I were in his shoes, I would ask the same thing. I told him truthfully that the task took me only 3-4 hours, though I didn't mention I hadn't put in my best effort (my bad). After the feedback session, I realized that I need to put in more effort (as I should). Luckily, he accepted my work with a few adjustments, and that day I felt really happy since I had finally finished the first task.

Observations

While working on the task, I tried to understand the perspective behind my references. For the first exercise, I focused on where the artists came from, what inspired them, and how they implemented their knowledge in their artwork. It took me some time, but when I finally got it, I knew what to do.

However, for the second exercise, I was overwhelmed and didn't properly study my reference. After receiving feedback, I decided to change my reference and do more research before choosing my object (for the letterform). Eventually, I got the hang of it. I observed how my seniors and classmates do their assignments, which helped me understand how I could improve.

Findings

Throughout this assignment, I learned how to use and utilize the knowledge I gained from the first semester better. Back then, I struggled with using the space properly and ended up filling everything with objects. Mr. Vinod advised me to not be afraid of white space and learn how to command it. In the first exercise, I tried to apply what he said before and experimented with composition. I received good feedback, and I just needed to reduce the graphical elements on some posters. I'm happy to see my own improvement and that I'm actually learning from my mistakes.

Although, I messed up on my second exercise. I have learned my lesson and I'm trying to be better than before. I also got to use Adobe Illustrator and Photoshop for my second exercise. I had forgotten that I can play around with Adobe software, so this assignment helped refresh my memory and taught me how to utilize both programs effectively.