Advanced Typography: Task 1 Exercises
Advanced Typography: Task 1Exercises
- April 22, 2025
21/4/25 - 28/5/25 (Week 1 - Week 3)
Hu Yao Ping | 0376768
Bachelor of Design (Honours) in Creative Media | Taylor's University
Task 1 / Exercises: Typographic Systems &Type & Play20% - Individual
[Table of Contents]
[Lectures]
Week1：
Advanced Typography: Typography System
Typography is not just text arrangement, but the art of information
communication. Elam (2007) pointed out that “all design is based on
a structural system,” and typography systems help designers organize
content logically and creatively.
1. Theoretical Basis
Typography depends on:
Hierarchy: Highlight important information.
Reading order: Follow
audience habits.
Readability &
Contrast: Enhance efficiency and appeal.
Typography systems act as a “shape grammar” — a structure that
supports rather than limits creativity.
2. Eight Typography Systems
Axial: Elements aligned
along an axis; orderly and clear.
Radial: Elements expand
from a center; dynamic and focused.
Dilatational: Arranged
along concentric circles; rhythmic.
Random: Seemingly chaotic
but visually connected; experimental.
Grid: Based on horizontal-vertical lines; structured and widely
used.
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Transitional: Flowing along curves or strips; fluid and
expressive.
Modular: Based on repeated modules; systematic and
adaptable.
Bilateral: Symmetrical
along a centerline; stable and formal.
3. Summary & Application
Typography systems are
part of communication strategies.
Grid systems are common,
but alternative systems can convey rhythm and emotion.
Beginners should practice
within a system before creatively mixing them.
4. Key References
Elam (2007): Typography
systems free designers from rigid grids.
James Felici : Typography
transforms words into artful communication.
Week2:
Advanced Typography: Typographic Composition
Introduction
Advanced typography goes beyond selecting typefaces — it’s about
organizing text and visual elements to create effective and engaging
communication.
Principles of Design Composition
Key principles include:
•
Emphasis (drawing attention)
•
Isolation (highlighting individual elements)
•
Repetition (creating rhythm)
•
Symmetry & Asymmetry (balance or visual tension)
•
Alignment (bringing order)
•
Perspective (adding spatial depth)
While easy to apply in imagery, these principles can be challenging
in complex, text-heavy layouts.
The Rule of Thirds：
Fig 2.1
Fig 2.2
This photographic concept divides the layout into a 3x3 grid where
intersections guide key placements. Although helpful in achieving
balance, it can feel limiting in more experimental typographic
designs.
Exploring Typographic Systems
1.
Grid System
Originating from letterpress and formalized by Swiss Modernists
like Brockmann and Tschichold, this system promotes consistency,
order, and logical structure.
2.
Postmodernist Reaction
Designers like David Carson and Paula Scher challenged order with
chaotic, asymmetrical, expressive designs, influenced by movements
like Punk.
3.
Environmental Grid
Based on lines and curves extracted from real architectural or
spatial environments, creating contextually rich and visually
textured layouts.
4.
Form & Movement
Treats each page as a frame in slow animation. The shifting
placement of text, images, and color across pages adds rhythm and
complexity.
The Fine Line in Typography
Typography requires balance between legibility/readability and
memorability. Too clear may feel dull; too expressive may be
unreadable. Striking that balance is essential.
Week 3：
Advanced Typography: Context and Creativity：
1. The Importance of Handwriting in Typography：
Typography began with handwriting. Early mechanical type mimicked
handwritten forms, shaping how we understand spacing, form, and visual
rhythm. In many Asian regions, handwritten heritage was overlooked due
to Western printing systems and Unicode limitations. Now, with the
rise of digital tools, more native scripts are being revived for
modern use.
Fig 3.1
2. Programmers and Typeface Development：
Tech companies like Google have empowered Asian designers and
programmers to create multilingual fonts, enabling better digital
communication in local languages and expanding typographic inclusivity
worldwide.
3. Evolution of the Latin Alphabet：
The Latin alphabet evolved from ancient symbols through many cultural
and historical phases. This journey reflects how writing systems adapt
and change with societal needs.
Fig 3.2
4. Regional Writing Systems：
From pictographic to syllabic scripts, different regions developed
their own writing systems.
•
In South and Southeast Asia, scripts were shaped by religion, trade,
and cultural exchange.
•
Each writing system carries its own visual identity, reflecting local
traditions and philosophies.
Fig 3.3
5. Local Movements and Contributions：
•
Murasu.com in Malaysia (by Muthu Nedumaran) supports native script
coding on digital platforms.
•
Huruf, a Malaysian design collective, explores local adaptations of
Latin and indigenous scripts.
•
Ek Type and Indian Type Foundry lead font innovation in India.
•
Although Southeast Asia lacks a unified typographic movement,
interest and access are growing.
6. Creativity and Cultural Authenticity：
True creativity comes from knowing your cultural roots. Designers are
encouraged to:
•
Study their community and history
•
Avoid superficial cultural borrowing
•
Draw inspiration from local stories and environments
Originality isn’t just invention ， it’s about creating meaningful
design rooted in context.
Week 4：
Advanced Typography: Designing Type – Lecture Summary
1. Introduction: Why Design Typefaces：
Type design is both an artistic challenge and a social
responsibility. Xavier Dupré (2007) emphasized that creating
typefaces enhances legibility while offering a form of creative
expression.
2. Notable Typeface Case Studies：
Frutiger Arabic – Designed by Adrian Frutiger, this
font merges Latin and Arabic styles for clean, functional
readability.
Fig 4.1
Fig 4.2
Bell Centennial – Also by Carter, this typeface was crafted for telephone directories, designed to remain legible at small sizes and under rough printing conditions.
3. The Typeface Design Process：
Research – Study typographic history,
purpose, and context.
Exploration – Use hand sketching or digital
tools to generate ideas.
Development – Refine letterforms using
software like FontLab, Glyphs, or Illustrator.
Testing – Evaluate legibility, consistency,
and versatility in different contexts.
Presentation – Showcase the final design
through mockups or visual displays.
4. Design Considerations：
Visual Adjustments – Align curves and strokes
visually rather than mathematically.
Letter Relationships – Design related letters
(e.g., c, e) based on consistent rules from foundational forms
(e.g., o).
Spacing & Fitting – Ensure optical balance
between letters for smooth readability.
Fig 4.6
5. Context & Creativity：
Motivations for type design can be personal (passion projects,
solving design gaps) or external (commissions, assignments).
Successful typefaces result from deep engagement, understanding of
needs, and careful attention to function and form.
[Instructions]
[Task]
Exercise 1: Typographic Systems
In this week's practice, we need to practice 8 systematic :Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral layouts in InDesign software. First, we need to watch the
demonstration video released by Mr. Vinod. Required size:
200x200mm
For the content, we were instructed to select one
headline out of the 3 given:
- All Rippled Up: Punk Influences on Design
- The ABCs of Bauhaus Design Theory
- Russian Constructivism and Graphic Design
Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12PM
June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM
Lecture Theatre 12
（Final Submission in JPEG file ）
Exercise 2 — Type & Play
Part 1
In the first part of Exercise 2, we need to extract letters
from a real photo, use AI software to extract and outline
the shape of the letters, and then refine it to keep it
horizontal to complete the letter design. Of course, the
result must also retain the core content of the
extraction.
Part 2
In the second part of Exercise 2, we need to use the
letters extracted in the first part to design a movie
poster, and the background of the poster needs to be
determined according to the core of the designed font.
Exercise 1: Typographic Systems
Process Work：
For the headline of my posters, I decided to go
with The ABCs of Bauhaus Design Theory
Reference images：
Fonts Used:
1. ITC New Baskerville Std
2. Janson Text LT Std
3. Gill Sans Std
4. Bembo Std
5. Serifa Std
6. Bodoni Std
7. Futura Std
8. Univers LT Std
9. ITC Garamond Std
10. Adobe Caslon Pro
1.Axial
Fig 6.1 Axial System
Design Process:
Organize lecture information, choose sans-serif fonts, set a
vertical central axis, arrange content by importance along the
axis, and unify colors/sizes.
Design Concept:
Axial alignment creates order and formality, aligning
with Bauhaus’ concise communication philosophy.
2.Radial
Fig 6.2 Radial System
Design Process:
Place the core title at the center, radiate other info around
it, use decorative fonts, and adjust sizes by distance from the
center for even distribution.
Design Concept:
Radial layout offers focus and dynamism, attracting attention
and reflecting Bauhaus’ break from tradition.
3.Dilatational
Fig 6.3 Dilatational System
Design Process:
Set a central starting point, layer content by importance in
concentric rings, increase radii gradually, and use color
gradients for visual flow.
Design Concept:
Mimicking expansion aligns with cognitive patterns, creating
depth and echoing Bauhaus’ spatial exploration.
4.Random
Design Process:
Scatter text freely, use size/color/angle to guide hierarchy,
and adjust for visual balance.
Design Concept:
Breaking rules sparks curiosity, embodying Bauhaus’ innovative
spirit and design diversity.
5. Grid
Design Process:
Create a grid system, partition content into cells, unify
fonts/alignments, and fine-tune positioning.
Design Concept:
Grid layout ensures rational order, aiding information
scanning and reflecting Bauhaus’ functionalism.
6.Modular
Design Process:
Categorize content into modules, design each module’s style,
combine them with proper spacing, and harmonize aesthetics.
Design Concept:
Modularity clarifies information hierarchy, boosts efficiency,
and merges function with form—core to Bauhaus.
7.Transitional
Design Process:
Use a diagonal/gradient as a transition element, align text
along its flow, adjust colors/fonts for continuity, and refine
details.
Design Concept:
Dynamic visual paths break monotony, reflecting Bauhaus’
exploration of movement and space.
8. Bilateral
Fig 6.8 Bilateral System
Design Process:
Define a vertical symmetry axis, place content symmetrically,
balance visual weight, and optimize text details.
Design Concept:
Bilateral symmetry conveys stability and formality, aligning with
Bauhaus’ aesthetic principles and traditional harmony.
Final Compilation for Exercise 1
Fig 6.1 Axial System
Fig 6.2 Radial System
Fig 6.3 Dilatational System
Fig 6.4 Random System
Fig 6.5 Grid System
Fig 6.6 Modular System
Fig 6.7 Transitional System
Fig 6.8 Bilateral System
Final Submission:
Fig Typographic System Final (JPEG)
Fig Typographic System Final (Grid / Baseline)
Exercise 2 — Type & Play Part 1 / Finding Type
Finding an Image:
At the beginning of the first part of Exercise 2, we were asked
to choose a picture that contained potential letter shapes. I
chose a bamboo forest and decided to extract the letters from
the bamboo and bamboo leaves.
Fig 7.1 reference
Extraction:
Below is my extraction of the letters B A M B O O
Fig 7.2 Font source
Refinement Process:
Fig 7.3 Type font
First, choose a basic font. I chose a simple black font, and then gray out
the font to compare it with the font I designed.
Based on the selected basic font, the letters extracted from bamboo and
bamboo leaves are combined for design. First, the various details of the
bamboo are complicated and finally further simplified.
Adjusting the letter:
Mr. Vinod gave feedback that he mainly adjusted the letter "O" because
he thought it would be best to close the gaps between the leaves. After
repeated adjustments and comparisons, a more reasonable letter came
out.
Final Result：
Fig 7.6.1 Font Process
Exercise 2 — Type & Play Part 2
In the second part of Exercise 2, we need to create a movie poster
based on the font designed in the first part. Since my font was
extracted from a photo of a bamboo forest, I looked for some pictures
that could express my design.
At first, I was going to find a picture of a bamboo forest as the
background, but I referred to the example posted by Mr. Vinod and found
that using black as the background is also a good idea. I just need to
find some bamboo pictures, cut out the bamboo and then add it to the
black background.
Fig 7.10 Poster Process
Final Result(JPGE)：
Final Result(PDF)：
Fig 8.2
Fig 8.3
[Feedback]
Week 1 (22/4/25)
General Feedback:
Mr Vinod talked about the plan for this semester, the work
arrangement and the details we need to pay attention to
Specific Feedback:
We learned about the specific tasks for this week and need to
complete the design of eight drawings. In general, this semester
will be a busy semester, but I believe I can learn a lot of useful
knowledge
Week 2 (29/4/25)
General Feedback:
This week, Mr. Vinod gave us feedback on Exercise 1 and gave us a
detailed explanation. He hoped that we could modify our work
according to the correct ideas.
Specific Feedback:
I need to finish my work as soon as possible and modify it as
required, as well as update the blog and feedback.
Week 3 (6/5/25)
General Feedback:
This week we have completed the font design. We refer to the
teacher's example and design fonts based on real objects. I use
bamboo and bamboo leaves because I think the fonts made of bamboo
are very distinctive and can be seen at a glance to represent bamboo
with a sense of design.
Specific Feedback:
Mr. Vinod said, he is ok with consistency of the design, but need
some adjustments and join my shapes together using path tool.
Week 4 (13/5/25)
General Feedback:
This week we revised the font design from last week and completed the
movie poster design according to the font style from last week. The
poster size requirement is 1024px x 1024px (JPG 300 PPI)
Specific Feedback:
Mr. Vinod reviewed my work this week and his feedback was that he
wanted me to change the font choice for the text so as not to distract
from the main text and that he needed to add the movie logo on the
poster.
[Reflection]
Experience：
Working on Exercises 1 and 2 allowed me to engage with
typography from both conceptual and practical perspectives.
Instead of just following instructions, I challenged myself to
make creative decisions and test different visual directions.
Although the outcomes were satisfying in some aspects, I
recognized that my creative exploration was somewhat limited due
to a lack of iterations and alternative approaches.
In future assignments, I aim to broaden my experimentation
phase and allow more room for risk-taking. Exercise 2,
especially, shifted my mindset—from focusing on surface-level
aesthetics to analyzing how letterforms can build meaning
through interaction with images. This change in perspective
helped me connect more deeply with the core principles of type
design.
Observation：
Throughout the process, I found that peer and instructor
feedback significantly shaped the development of my work. Mr.
Vinod’s critiques not only clarified expectations but also
encouraged me to reevaluate my own design decisions.
Observing feedback given to classmates was equally valuable—it
allowed me to see common challenges, solutions, and interpret my
work from viewpoints I hadn’t considered. This reminded me that
good design isn’t just about personal taste, but also about how
others perceive and interpret visual messages.
Findings：
The recorded lectures offered more than just technical knowledge;
they helped frame the exercises within a broader design context. I
began to see how understanding typographic anatomy, function, and
history could influence the choices I make during the creative
process.
Applying this theoretical foundation during ideation proved to be
extremely helpful—it made my design choices feel more intentional
rather than intuitive. As I continue developing as a designer, I
realize that balancing theory with practice is essential for
creating work that is both visually compelling and conceptually
strong.
[Further Readings]
Typographic Systems by Kimberly Elam
Typographic Systems gave me a deeper understanding of the structure
and philosophy behind typographic design. The typographic systems in
the book are not just single design rules, they are more of a design
thinking tool that can help designers present content clearly and in
an organized manner when faced with complex information. In
particular, Elam's "systemized" typography in the book made me
realize that even in seemingly simple typographic work, a reasonable
structure can greatly improve the design effect.
In addition, the large number of example diagrams in the book also
gave me a better understanding of how each typographic system works
in actual works. This not only broadened my design vision, but also
taught me how to flexibly apply these systems to different types of
design projects.
Overall, this book is a very valuable reference book for any
designer who wants to improve his typographic skills. It not only
teaches us how to use typographic rules, but also reminds us to
flexibly break these rules to create more creative and expressive
design works.
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