Advanced Typography - Task 1: Exercises

September 23, 2025

Advanced Typography - Task 1: Exercises

24/9/2025 - 15/10/2025 (Week 1 - Week 4)

Tan Tzu Yu / 0374460

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

Task 1/ Exercises

LECTURES

Week 1 : Typographic Systems

Typographical organization is a complex process because every element must support clear communication to function effectively. Additional factors such as hierarchy, reading order, legibility, and contrast also play an essential role in how information is presented and understood.

Typographic systems can be compared to “shape grammars” — a term used in architecture — as both follow a defined set of rules that guide decision-making and give structure and purpose to the final outcome.

There are eight major typographic systems, each with its own variations and countless possible permutations:

1. Axial System

All elements are organised to the left or right of a single axis.
Information is divided into groups and placed in different angles or on either side of the axis, which is also known as Axial
Axial not necessarily to be straight.

2. Radial System

All elements are extended from a point of focus.

3. Dilatational System

All elements expand from a central point in a circular fashion.
Information is arranged on either sides along the multiple rings of circle or directly in line with those circles.
Information can go from most important to the least either from the inner ring to the outer ring or in the other way.

4. Random System

Elements appear to have no specific pattern or relationship.

5. Grid System

A system of horizontal and vertical divisions.

6. Transitional System

An informal system of layered banding.

7. Modular System

A series of non-objective elements that are constructed in as a standardised units.

8. Bilateral System

All text is arranged symmetrically on a single axis.

Fig 1.0 : 8 major typographic systems

Week 2 : Typographic Compositions

[Principles of Design in Typography]

Key Principles:
- Emphasis: Highlights important elements within a layout.
- Isolation: Separates elements to create focus.
- Repetition: Uses consistent elements to create unity.
- Symmetry/Asymmetry: Balances elements in a visually appealing way.
- Alignment: Ensures elements are positioned in relation to one another.
- Perspective: Adds depth and dimension to layouts.

These principles, while foundational to design, can be challenging to apply directly to typographic layouts. For instance, while emphasis and symmetry are easily translatable, concepts like repetition and perspective may not lend themselves as readily to typographic composition.

[The Rule of Third]

Fig 1.1 : Rule of Thirds (Uploaded on5/10/2025)

A photographic guide suggesting that a space can be divided into three columns and three rows, with intersecting lines indicating optimal placement for points of interest.
Although not commonly used in typographic composition, understanding this rule can aid in the placement of key information within a layout. For example, placing headlines or pull quotes at the intersections can enhance visual impact.

[The Grid System]

The most widely used typographic system, derived from letterpress printing. It organizes text and images within a structured framework.
Designers like Joseph Müller-Brockmann enhanced the grid system, introducing elements of excitement while maintaining a structured approach. This system remains popular due to its versatility and ability to cater to our natural reading preferences for order.

[Environmental Grid]

Fig 1.2 : Example of Environmental Grid (Uploaded on5/10/2025)

This system derives from existing structures (architectural or otherwise) and organizes information around these frameworks. It emphasizes context and the unique characteristics of the environment.
By extracting lines and curves from a structure, designers can create layouts that resonate with the surrounding context, making the design more relevant and engaging.

[Form and Movement]

Fig 1.3 : Form and Movement (Uploaded on5/10/2025)

This system encourages students to explore the grid's potential by treating the layout as a sequence of movements, akin to frames in a movie.
Maintaining visual connections and introducing surprises across spreads keeps the viewer engaged. The placement of elements should create a sense of movement, whether on paper or screen.

Week 3 : Context and Creativity

[Handwriting]

The first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting would become the basis or standard for form, spacing and conventions mechanical type would try and mimic.

The shape and line of hand-drawn letter forms were influenced by various tools and materials, including sharpened bones, charcoal sticks, and different writing surfaces like clay, wood, and animal skins.

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

Fig 1.4 : Evolution of Latin alphabets (Uploaded on10/10/2025)

Cuneiform, the earliest system of actual writing, was used in a number of languages between the 34C. B.C.E. through the 1st century C.E. Its form was the result of pressing the blunt end of a reed stylus into wet clay tablets. The cuneiform characters evolved from pictograms. Cuneiform was written from left to right.

Fig 1.5 :Ancient Egypt Hieroglyphics Chart (Uploaded on10/10/2025)

[Movable Type]

The introduction of movable type in the 11th century marked a significant advancement in printing technology. While China experimented with movable type, it was Korea that successfully created a phonetic script, Hangul, which allowed for efficient printing.The Western printing press, developed later, was influenced by earlier Asian innovations but often overlooked their contributions.

Fig 1.6 :Movable Type (Uploaded on10/10/2025)

[Historical Misunderstandings and Colonial Perspectives]

Western historical narratives often downplay the significant influence of ancient civilizations like Egypt on Greek culture, overshadowing their advanced achievements in favor of later European developments. This bias stems from viewing history through colonial perspectives, which has led to widespread misconceptions and a failure to properly acknowledge the vital contributions of non-Western civilizations, ultimately creating a distorted understanding of global history.

[Eastern Developments in Handwriting]

The evolution of the Middle Eastern alphabet, from Phoenician to modern Arabic and Hebrew scripts, showcases the influence of earlier writing systems, including Egyptian hieroglyphics.The Chinese script has a rich history, evolving from oracle bone inscriptions to modern forms, reflecting the importance of documentation in Chinese culture.

Fig 1.7: Evolution of Middle Eastern Alphabets(Uploaded on10/10/2025)

Fig 1.8: Evolution of Chinese script(Uploaded on10/10/2025)

Fig 1.9: Indus Valley Civilisation (IVC) script (3500-2000 BCE)
(Uploaded on10/10/2025)

Fig 1.10: The Brahmi script(450-350BCE)
(Uploaded on10/10/2025)

[Programmers and Type Design]

Global technology companies like Google are increasingly producing vernacular scripts, employing numerous Asian programmers and designers to support this growth. This has led to the rise of more vernacular and “multi-script” typefaces—a term introduced by Muthu Nedumaran—designed for contexts where written communication occurs in local scripts or in combinations of vernacular and Latin scripts.

[Local Movements and Individuals]

Creativity and originality are deeply interconnected. For emerging designers, it is essential to look inward—exploring their own history, civilization, culture, and communities—to reinterpret and evolve these roots for the future. Rather than imitating or appropriating external cultures and developments that lack contextual or emotional relevance, designers should build upon their own heritage to create meaningful and authentic work.

"Creativity and inspiration should begin by observing our surroundings and exploration of our collective histories."

Week 4 : Designing Type

Why do we need to design a typeface ?

Type design carries a social responsibility so one must continue to improves its legibility
Type design is a form of artistic expression

IThe moral obligations of designers come into play when they identify a need or a problem that requires a solution. This aspect of social responsibility is crucial in the field of typography.

[Frutiger Typeface]

Fig 1.11 Frutiger (Uploaded on13/10/2025)

It is a sans serif typeface being designed by Adrian Frutiger, a renowned 20th century Swiss designer, in 1968 specifically for a newly built Charles de Gaulle International Airport in France.The purpose of Frutiger was create a clean, distinctive and legible typeface that is easy to see from both close up and far away. It is extremely functional.

Considerations/Limitations: letterforms neded 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.

[Verdana]

Fig 1.12 Verdana (Uploaded on13/10/2025)

The purpose is to be extremely legible even at very small sizes on the screen due in part to the popurlarity of the internet and electronic devices.

Considerations/Limitations: Verdena font exhibit characteristic derived from pixel rather than the pen, the brush or chisel. Thus, it has some commonly confused characters like lowercase i, j, l.

[Johnston Sans]

Fig 1.13 Johnston Sans (Uploaded on13/10/2025)

Johnston Sans is created by Edward Johnsatsn in 1916. He was asked to create a typeface with “bold simplicity” that was truly modern yet rooted in tradition. It is used in the posters and signage of London's Underground railway.

Considerations/Limitations: Johnston’s task was to create a unifying typeface for the London Underground, which previously had inconsistent lettering across its signage and advertisements. He based his design on the proportions of Roman capitals, blending historical calligraphic roots with a modern, simple, and elegant style suitable for the new age.

[General Process of Type Design]

1) Research

We should understand type history, type anatomy and type conventions before designing a type.

It is then important to determine the type’s purpose or what it would be used for and what is the difference in application. Besides, we should examine and take reference from the existing fonts.

2) Sketching

Some designer sketch the typeface using the traditional tool set (brushes/ pens, ink and paper) then scan them for the purpose of digitization.

On the other hand, some designers sketch their typeface using digital tool sets, but this can sometimes impede the natural movement of hand strokes.

3) Digitazation

Leading software tools like FontLab and Glyphs App are commonly employed by professionals for typeface digitization. Some designers resort to Adobe Illustrator for crafting letterforms, which is often criticized by purists who prefer specialized font apps.

At this stage, attention should not only be directed towards the overall form but also to the counter form, as readability heavily relies on it.

4) Testing

Testing is integral to the design thinking process, providing crucial feedback for refining and correcting aspects of the typeface. Prototyping plays an important role in this phase, generating valuable insights.

The readability and legibility of a typeface are paramount considerations, particularly in text types. However, for display types, where form expression holds more precedence, readability and legibility are comparatively less critical.

4) 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 rigour of the testing is important in so that the teething issue remain minor.

[Typeface Construction]

Fig 1.14 Construction & Consideration (Uploaded on13/10/2025)

Construction Basics

Grid Method: Roman capitals are constructed on a grid of squares and circles, aiding in the design process.
Character Grouping: Distinguishing between capital and lowercase letters helps streamline the design.

Visual Corrections

Fig 1.15 Letters "C" and "E" (Uploaded on13/10/2025)

Overshoot: Curved forms may need to extend past baseline or cap line for visual balance.
Fitting: Adjusting spacing between letters to create uniform visual white space is essential for aesthetic appeal.

INSTRUCTIONS

Task 1 : Exercise 1 - Typographic Systems

For this exercise, our task was to come out with 8 square posters of the size 200mmx200mm with creative placement and design of the typographic systems taught in our lecture, they are Axial, Radial, Dilatational, Random, Grid, Transitional, Modular and lastly Bilateral. We can be as creative as possible, but there are still rules we need to follow. For instance, only maximum 3 colors are allowed and also limited numbers of graphical elements. Before starting, we were reminded of the hierarchy of placing the information, which one should the reader read first, as it is really important for readers to understand the information we are trying to give.

At first, after watching the lecture videos, I was still a little unsure about how to approach the task. To gain some clarity, I explored various examples and well-designed works on Google and Pinterest. After browsing through many inspiring artworks, new ideas began to form, and I sketched them out on my iPad.

Fig 2.0 : Sketches of my design
(Uploaded on 27/9/2025)

After finalizing my sketches, I began creating the designs in InDesign. For each typographic system, I experimented with various text placements and color combinations until I achieved a result I was satisfied with. The sketches above served only as rough ideas of my intended layouts, but while working on the actual designs in InDesign, I continued to explore different arrangements to ensure that the compositions from my sketches translated effectively in practice.

Fig 2.1 : Evolution of my Grid System layout
(Uploaded on 28/9/2025)

Fig 2.2 : Evolution of my Modular System layout
(Uploaded on 28/9/2025)

In my first design, I chose dark red, black, and white as the three main colors, as I thought they would create strong contrast. However, after receiving feedback from Mr. Vinod, he mentioned that the colors appeared too dull and didn’t provide enough contrast, so he suggested changing them. He also gave feedback on the layout of my Grid and Bilateral systems. For the Bilateral system, he said the layout was interesting but didn’t fully follow the rule of being completely center-aligned. As for the Grid system, although the text was placed within a grid structure, it looked slightly messy due to alignment issues. He advised me to make adjustments based on these observations.

Fig. 2.3 : Initial design before revisions based on feedbacks.

(Uploaded on 1/10/2025)

Fig 2.4 : Revised design based on feedbacks.
(Uploaded on 1/10/2025)

Fig 2.5 : Changes on Grid system layout
(Uploaded on 1/10/2025)

Fig 2.6 : Changes on Bilateral system layout

(Uploaded on 1/10/2025)

Fig 2.7 : Final Axial system
(Uploaded on 4/10/2025)

Fig 2.8 : Final Bilateral system
(Uploaded on 4/10/2025)

Fig 2.9 : Final Dilational system
(Uploaded on 4/10/2025)

Fig 2.10 : Final Grid system
(Uploaded on 4/10/2025)

Fig 2.11 : Final Modular system
(Uploaded on 4/10/2025)

Fig 2.12 : Final Radial system
(Uploaded on 4/10/2025)

Fig 2.13 : Final Random system
(Uploaded on 4/10/2025)

Fig 2.14 : Final Transitional system
(Uploaded on 4/10/2025)

Fig. 2.15 : Final typographic systems design (PDF)
(Uploaded on 4/10/2025)

Fig. 2.16 : Final typographic systems design with grid (PDF)
(Uploaded on 4/10/2025)

Task 1 : Exercise 2 - Finding Type (Type & Play)

For the second exercise, we were asked to discover examples of type in our everyday surroundings—whether they came from man-made structures or elements of nature. I decided to focus on frogs, particularly the Starry Night Reed Frog, because of its mesmerizing and artistic patterns. Its deep blue-black skin is sprinkled with bright white and yellow spots that shimmer like constellations against a night sky, making it look as though a piece of the cosmos has come to life on its tiny body.

Fig. 2.17 : Starry Night Reed Frog

(Uploaded on 7/10/2025)

Fig. 2.18 : Starry Night Reed Frog

(Uploaded on 7/10/2025)

Fig. 2.19 : Starry Night Reed Frog

(Uploaded on 7/10/2025)

After giving it some thought, I decided to work with Fig. 2.10 because the frog’s pattern in that image felt more dynamic and visually engaging. I began by tracing the patterns on my iPad, as it made the process easier and more precise. Through this, I managed to discover several playful letterforms that could be extracted from the frog’s unique markings. After extracted on letters manually on my iPad, I then move on to tracing on Illustrator.

Fig. 2.20 : Letters tracing on procreate

(Uploaded on 7/10/2025)

From the intricate patterns on the frog’s skin, I discovered the letters C, I, A, N, Y, L, U, P, and O. Each letter stood out with its own rhythm and personality — some bold, some fluid, yet all carrying a sense of playfulness and organic charm drawn from the frog’s natural markings. However, if I need to choose I will definitely choose letter A or P. From the choices of letters below, I decided to use the word "Canopy".

Fig. 2.21 : Tracing letter C

(Uploaded on 7/10/2025)

Fig. 2.22 : Traced letter C

(Uploaded on 7/10/2025)

Fig. 2.23 : Tracing letter I

(Uploaded on 7/10/2025)

Fig. 2.24 : Traced letter I

(Uploaded on 7/10/2025)

Fig. 2.25 : Tracing letter A

(Uploaded on 7/10/2025)

Fig. 2.26 : Traced letter A

(Uploaded on 7/10/2025)

Fig. 2.27 : Tracing letter N

(Uploaded on 7/10/2025)

Fig. 2.28 : Traced letter N

(Uploaded on 7/10/2025)

Fig. 2.29 : Tracing letter Y

(Uploaded on 7/10/2025)

Fig. 2.30 : Traced letter Y

(Uploaded on 7/10/2025)

Fig. 2.31 : Tracing letter L

(Uploaded on 7/10/2025)

Fig. 2.32 : Traced letter L

(Uploaded on 7/10/2025)

Fig. 2.33 : Tracing letter U

(Uploaded on 7/10/2025)

Fig. 2.34 : Traced letter U

(Uploaded on 7/10/2025)

Fig. 2.35 : Tracing letter P

(Uploaded on 7/10/2025)

Fig. 2.36 : Traced letter P

(Uploaded on 7/10/2025)

Fig. 2.37: Tracing letter O

(Uploaded on 7/10/2025)

Fig. 2.38 : Traced letter O

(Uploaded on 7/10/2025)

After tracing the letters, I began to refine them. I decided to use the font "Cheee Variable Font" by OH no Type Co and in exact Cheee Variable – Stink Head as this font has curves and blobs resemble natural, biological forms, like the frog’s spotted skin.

Fig. 2.39 : First refinement

(Uploaded on 7/10/2025)

I began by establishing a baseline and an x-height as guides for my lettering. Initially, I aimed to create a typeface that was fairly symmetrical. I arranged and resized each letter to maintain consistency across the composition. However, after my first refinement, I wasn’t satisfied with the outcome. The proportions felt off, and the overall form appeared unbalanced. Despite this, the design still retained key characteristics inspired by the frog’s pattern, which gave it a unique visual identity.

Fig 2.40 : Second refinement
(Uploaded on 7/10/2025)

In the second refinement, I focused on achieving greater visual balance by adjusting the height and proportions of the letters. Each form was carefully reworked — some strokes were elongated to enhance rhythm, while others were shortened to create harmony within the composition. I also removed unnecessary elements that introduced visual noise, allowing the letterforms to breathe and flow more naturally. Through these adjustments, the design began to feel more cohesive and intentional, reflecting a clearer sense of structure and refinement.

After receiving feedback from Mr. Vinod, I continued refining my letterforms, as he pointed out that there was still significant room for improvement. He suggested that I pay closer attention to the weight, proportion, and contrast of each letter to achieve a more balanced and cohesive outcome. Also, t
he design can be further refined by adjusting the shapes of the letters, exploring more fluid and circular forms that interconnect seamlessly.
Taking his advice into account, I began to analyze how these elements could work together to create a stronger visual harmony within the overall type design.

Fig 2.41 : Third refinement
(Uploaded on 8/10/2025)

Fig 2.42 : Final refinement
(Uploaded on 8/10/2025)

After finalizing the design of my letterforms, I moved on to creating the poster. I wanted the background to feel like an extension of the letters, so I chose a real forest canopy image. My goal was to evoke a calm, emotional, and nature-inspired drama—something peaceful, poetic, and inspiring that would resonate with the mood of the design.

Fig 2.43 : initial poster design
(Uploaded on 12/10/2025)

As I layered the text over the image, I noticed that the information was becoming hard to read. This made me realize how important the balance between background and text is. To address this, I carefully adjusted the color, brightness, and contrast, making sure the words were clear without losing the atmosphere of the image. I also applied subtle effects to enrich the depth and harmony of both the background and the text.

Fig 2.44 :Poster refinement 1
(Uploaded on 12/10/2025)

Since the poster is intended to mimic a movie poster, I added a light grain texture. This final touch not only gave it a cinematic quality but also tied the entire design together, making the poster feel cohesive and alive.

Fig 2.45 :Poster refinement 2
(Uploaded on 12/10/2025)

Fig 2.46 : Poster Design 1
(Uploaded on 12/10/2025)

After getting feedback from Mr. Vinod, I took some time to rework my design. I changed the background image to make it more relevant to the subject and adjusted the text layout for better balance. Through these changes, I feel the final design now connects more meaningfully with the concept I wanted to express.

Fig 2.47 : Final Poster Design
(Uploaded on 15/10/2025)

Fig 2.48 :Final Poster Design(PDF)

(Uploaded on 15/10/2025)

FEEDBACK

Week 1

Specific Feedback : There is no specific feedbacks given this week.

General Feedback : In order to pass this course, be attentive in class, do what we are told to do and do not be absent.

Week 2

Specific Feedback :
The colours feel a little dull. Consider using brighter tones. Everything else looks good.

General Feedback :
Remember to keep graphical elements minimal, as excessive use can distract from the main content.

Week 3

Specific Feedback : The design can be further refined by adjusting the shapes of the letters, exploring more fluid and circular forms that interconnect seamlessly. By combining these rounded shapes, the typeface gains a more dynamic and visually engaging character, enhancing both its rhythm and overall aesthetic appeal.

General Feedback : When extracting letterforms from an object, it is essential to observe the entire form rather than isolating specific details. Focusing only on certain parts can limit the depth of exploration, especially in aspects such as weight, proportion, and rhythm. By studying the object holistically, the letterforms can better capture its essence, resulting in a design that feels more cohesive, expressive, and conceptually grounded.

Week 4

Specific Feedback : The background image is not quite relevant — it should relate more closely to the subject or concept represented by the designed typefaces. Consider adding one or two logos to enhance the realism and professional feel of the poster. Overall, it’s a solid piece of work.

General Feedback : Pay attention to the spacing between the letters in your title, as it can affect how easily viewers perceive and read it. Also, ensure that all text elements in the poster remain clear and fully readable.

REFLECTIONS

Week 1:

Experience : I think it feels a bit rushed since we just got briefed on the first exercise in class, and it’s already due next class.

Observations : Everyone else seems to understand more easily compare to last semester.

Findings : Advanced Typography is much more complex and detailed compare to the Typography class last semester. However, it provides us much more deep learning on how typography works.

Week 1:

Experience :It is not a new experience for me in using Blogger to create blogs as I have done it before in my foundation. course. However, creating an E-portfolio on Blogger is new to me.

Observations :As there is lots of foreigners in our class , I found them not very understanding what Mr Vinod was saying but they did make effort on trying to understand by asking others and translating the conversations.

Findings : Creating an E-portfolio on Blogger is not as difficult as I thought.

Week 2:

Experience :
I spent a lot of time developing a final design that I’m truly satisfied with. I experimented with all nine typefaces to see which suited my layout best, and I also explored different colour options to find the most interesting ones that make my informations stand out.

Observations :
Many students tend to forget the rule of keeping graphical elements limited. Instead of focusing on building creative layouts, they often use graphics to fill empty spaces or to make the design appear less boring.

Findings :
Creating creative layouts is not as easy as I expected. We have to follow the rules of how each typographic system should be designed, and at the same time it takes a lot of time to produce a layout we’re truly satisfied with.

Week 3:

Experience : This week, I refined my letterforms by exploring smoother and more circular shapes. It was challenging at first, but I enjoyed seeing how small changes could make the design feel more connected and alive.

Observations :

I realized many students were focusing too much on details before. Mr Vinod told them, once they started looking at the object as a whole, the letters began to flow better and feel more balanced.

Findings : I learned that good letterform design comes from understanding rhythm and unity, not just shape. Seeing the object holistically helped my design feel more cohesive and expressive.

Week 4:

Experience :I refined my poster based on Mr. Vinod’s feedback by changing the background to match the subject better and adding logos to make it look more professional.

Observations :I noticed that a relevant background makes the design feel more connected, and proper letter spacing improves readability.

Findings : I learned that relevance and clarity are key to making a poster both meaningful and visually effective.

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Tan Tzu Yu (0374460)