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ADVANCED TYPOGRAPHY - TASK 1: EXERCISES


22/9/25 - 19/10/25 (Week 1 - Week 4)

Nicole Ng Ying Yan  0382412

Bachelor of Design (Hons) in Creative Media

GCD61004 Advanced Typography

Task 1: Exercises

TABLE OF CONTENTS


1.0 LECTURES

Lecture 1: AdTypo_1_Typographic Systems

<Typographic Systems>

8 Major Variations:

1. Axial System
- All elements are organised to the left or right of a single axis.
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.
4. Random System
- Elements appear to have no specific pattern or relationship.
5. Grid System
- A system of vertical and horizontal divisions.
6. Transitional System
- An informal system of layered banding (segregating different information within certain bands).
7. Modular System
- A series of non-objective elements that are constructed as a standardised unit.
8. Bilateral System
- All text is arranged symmetrically on a single axis.

Fig. 1.1 The 8 Typographic Systems (Week 1, 23/9/25)

<Typographic Composition>

Principles of Design Composition:
  • Emphasis
  • Isolation
  • Repetition
  • Symmetry
  • Asymmetry
  • Alignment
  • Perspective
Rule of Thirds
- Suggests that a frame/ space can be divided into 3 columns and 3 rows. The intersecting lines are used to guide where the interesting point should be placed.
- Generally not used in typography.

Environmental Grid
- Based on the exploration of an existing structure and numerous structures combined. 

Fig. 2.1 Environmental grid (Week 2, 3/10/25)

Form and Movement
- Based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement. The forms could represent images, text or colour. 

Fig. 2.2 Form and movement (Week 2, 3/10/25)

Lecture 3: AdTypo_3_Context & Creativity

<Context & Creativity>

Handwriting
The first mechanically produced letterforms were designed to directly imitate handwriting. The shape and line of hand-drawn letterforms are influenced by the tools and materials used to make them. 

Fig. 3.1 Evolution of the Latin Alphabet (Week 3, 7/10/25)

Fig. 3.2 Letterforms through the ages (Week 3, 7/10/25)

Fig. 3.3 Evolution of the Middle Eastern (Week 3, 7/10/25)

Fig. 3.4 Evolution of the Chinese Script (Week 3, 7/10/25)

The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature. 

Fig. 3.5 ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (Week 3, 7/10/25)

The Brahmi script is the earliest writing system developed in India after the Indus script. It is one of the most influential writing systems; all modern Indian scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.

Fig. 3.6 The Brahmi Script (Week 3, 7/10/25)

Programmers and Type Design
Multiscript is a script that combines English (Latin) letters and Vernacular letters.

Fig. 3.7 Baloo (Week 3, 7/10/25)

Local Movements and Individuals
Organisations that preserve local handwriting and scripts:
  • Murasu.com by Muthu Nedumaran
  • Huruf
  • Ek Type and Indian Type Foundry

<Designing Type>

Why design another typeface?
: 1) Type design carries a social responsibility so one must continue to improve its legibility
  2) Type design is a form of artistic expression 

1. Frutiger by Adrian Frutiger

Fig. 4.1 Frutiger Typeface (Week 4, 14/10/25)
  • Designed by the Swiss type designer Adrian Frutiger in 1968, specifically for the newly built international French airport.
  • Purpose: To create a clean, distinctive, and legible typeface that is easy to see from both close up and far away.
  • Considerations/ Limitations: Letterforms need to be recognised even in poor light conditions or when the reader was moving quickly past the sign.

2. Verdana by Matthew Carter

Fig. 4.2 Verdana Typeface (Week 4, 14/10/25)
  • Designed by Matthew Carter to address specific technical challenges, e.g. those posted by early computers.
  • Purpose: The font was tuned to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.
  • Considerations/ Limitations: Verdana exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters: lowercase i, j, l.

3. Johnston Sans by Edward Johnston

Fig. 4.3 Johnston Sans Typeface (Week 4, 14/10/25)
  • Designed by Edward Johnston in 1916, with a request by the London's Underground railway for bold simplicity, modern yet rooted in tradition.
  • Purpose: To be used as a new typeface in posters and signage on London's Underground Railway.
  • The typeface features a combined classical Roman proportions with humanist warmth, setting the tone for printed text.

General process of Type Design:

1. Research
- Understand type history, anatomy, and conventions.
2. Sketching
- Both traditional tool sets and digital tool sets have its pros and cons.
3. Digitalisation
- Attention to both overall form and counter form is crucial for readability.
4. Testing
- Integral to the design process for refinement and correction.
5. Deployment
- Even after deployment, rigorous testing is important to ensure that any teething issues remain minor.

Typeface Construction
- Using grids (with circular forms) can make an easier construction of a letterform and is a possible method to build, create, and design letterforms.

Fig. 4.4 Construction gird for Roman Capitals (8*8 cells) (Week 4, 14/10/25)

Construction & Considerations:
  • The 26 characters of the alphabet can be arranged into groups depending on their form and construction, distinguishing between capitals and lowercase letters.
  •  Important visual correction is the extrusion of curved forms past the baseline and cap line (overshoot), which also applies to vertical alignment between curved and straight forms. 
  • Visual correction is needed for the distance between letters to ensure uniform white space, this is called 'fitting' the type.
  • Typefaces must consider the counter forms, strokes, and vertical strokes to create a uniform rhythm.
  • Motivations for designing typefaces can be intrinsic (the designer's inexplicable need) or extrinsic (driven by interest).
Fig. 4.5 Classification according to form & construction (Week 4, 14/10/25) 

View Lecture 5 HERE

2.0 INSTRUCTIONS

<iframe src="https://drive.google.com/file/d/1W3icNMeDtZl-OvJc_rUkEypHNcbTzntR/preview" width="640" height="480" allow="autoplay"></iframe>

3.0 PROCESS WORK: TASK 1A TYPOGRAPHIC SYSTEM

Chosen headline: Russian Constructivism and Graphic Design

3.1 Research

I researched on what exactly is the Russian constructivism movement and what are the characteristics and styles of this movement. After doing some digging, here are some of the main characteristics I've summarised:
  • Uses minimal colour palettes, often just red, black and sometimes yellow
  • Proponents of functional art and design as opposed to decorative
  • Geometric abstraction - rectangles, circles, and lines
  • Minimal text and sans-serif typography
  • Commitment to simplicity, functionality, and abstraction

Fig. 3.1 Good! by Vladimir Mayyakovsky (CreativePro) & Beat the Whites with the Red Wedge (Illustromania) (Week 2, 3/10/25)

3.2 Ideation

1. Axial

Fig. 3.2 Axial System attempts (Week 2, 3/10/25)

Attempt #1 - Wanted to try a diagonal axis line but the design turned out mediocre, felt that the font choice wasn't that great either.
Attempt #2 - Trying a diagonal axis line again but with different text placements to make it complex, but then realised the "and Graphic Design" was not following the axis line, hence this is not axial anymore.
Attempt #3 - Tried 2 slanted axis line as if the words are breaking apart, made them asymmetrical to create more visual tension, but the readability of headline felt too fragmented.
Attempt #4 - After the previous attempts, I ended up sticking with the most direct and simple design, a straight axis line. This is the most effective and clearest representation of the axial system without making things too complicated. 

Font(s) used for final outcome: Univers LT Std (Light, Roman, Bold)

2. Radial

Fig. 3.2.1 Radial System attempts (Week 2, 3/10/25)

I wasn't satisfied with Attempt #1 and made a few placement variations for Attempt #2. Out of all the placements, Variation #4 was the most visually appealing.

Font(s) used for final outcome: Futura PT (Light, Book, Heavy)

3. Dilatational 

Fig. 3.2.2 Dilatational System attempts (Week 2, 3/10/25)

I only attempted once for this system, only making minor placement changes and different colours. Compared to the other systems, this system is definitely the most troublesome to design. I didn't hate this design so I left it as it is, and Mr. Vinod approved it as well so this is the final.

Font(s) used for final outcome: Univers LT Std (Light, Roman, Bold)

4. Random

Fig. 3.2.3 Random System attempts (Week 2, 3/10/25)

Honestly I have no comment on the first design because it's just that bad when I look back at it again. I obviously had a creative block and I thought overlapping the texts together would qualify as random, but it's just a huge mess. The readability is definitely not good even for the emphasised text except for the headline and "12." I knew I had to redo the design and Attempt #2 was way more decent after I found some inspiration on Pinterest.

 Fig. 3.2.4 Random system inspiration from Pinterest (Week 2, 3/10/25)

I wanted to make the texts really compact and close with each other, similar to the examples in Fig. 3.2.4 but it had to be a structured mess. So for Attempt #2 there are 3 obvious sections of "mess" but the hierarchy of the headline and body text is still there by using different weights and sizes of the font. Then I emphasised "12" in red again as a tiny enhancement.

Font(s) used for final outcome: Univers LT Std (Roman, Bold, Light Condensed, Condensed, Bold Condensed)

5. Grid

 Fig. 3.2.5 Grid System attempts (Week 2, 3/10/25)

I wanted to embody the functionality element of the constructivism movement and to me the grid system was the best system to showcase that. Out of all the variations, I was stuck between #1 and #3. I ultimately chose Variation #3 because it felt more structured and utilised more space.

Font(s) used for final outcome: Univers LT Std (Light, Roman, Bold, Extra Black)

6. Transitional

 Fig. 3.2.6 Transitional System attempts (Week 2, 3/10/25)

After experiencing radial and dilatational, I didn't want to design the transitional system in the curved or wavy style as I struggle a bit with that. So I layered the text on top of each other, making it compact to form a stronger transition connection. 

If you've noticed, I only used sans-serif fonts for almost all my designs as the constructivism movement used sans-serif typefaces mostly. However for this system I wanted to do something a bit different and create a transition of serif to sans-serif.

The text in Attempt #1 was way too close with each other and there was no spacing between each word cause I thought that would be more transitional (def not). I left a space in between the headline as my initial idea was to fill in with a different section of text but it just didn't work out. 

The other attempts are all similar except for the text placements and leading. Some of the text or letters are in Italic to create a better illusion of the transition leaning towards the right. In the end, I chose a black background for this design as it displays the transition of text more prominently compared to a white background. The red circle at the bottom serves as a finishing point for the transition and to where the viewers eyes should stop at.

Font(s) used for final outcome: 
- ITC Garamond Std (Book Narrow, Book Narrow Italic, Light Narrow, Light Narrow Italic)
- Univers LT Std (Light, Roman, Light, Light Oblique, Oblique)

7. Modular

 Fig. 3.2.7 Modular System attempts (Week 2, 3/10/25)

For the first design, Mr. Vinod wasn't sure if this is the modular system which means the modular structure wasn't strong enough. I got a clearer understanding of what the modular system actually is after his explanation, and realised I misunderstood its definition. I thought certain units can be interchangeable with certain units (e.g. headline units swapping with each other, and body text swapping with each other) but actually ALL modular units need to be interchangeable. 

 Fig. 3.2.8 Modular System Attempt #3 with grids (Week 2, 3/10/25)

For the new design, I stacked the body text information in a box on top of the headline like sticky notes. The headline + body text is considered as 1 modular unit, and in total there are 5 horizontal modular units that can be interchangeable. I changed the colour from red to yellow as the readability of the body text is better with a yellow background.

Font(s) used for final outcome: Univers LT Std (Light, Roman, Bold)

8. Bilateral

 Fig. 3.2.9 Bilateral System attempts (Week 2, 3/10/25)

I got my inspiration from a tear-off poster design I saw on Pinterest, and thought I could design the bilateral system as a tear-off poster as well. 

 Fig. 3.2.10 Bilateral system inspiration from Pinterest (Week 2, 3/10/25)

 Fig. 3.2.11 Bilateral system attempt #1 with grids (Week 2, 3/10/25)

For the first attempts, there were actually 4 bilateral axis lines separately for the headline, subheading, body text, and the text for location. "The Design School, Taylor's University" text is place vertically to mimic the tear-off papers. But since the design wasn't clear enough, Mr. Vinod thought it was not bilateral.

 Fig. 3.2.12 Bilateral system final with grids (Week 2, 3/10/25)

After the feedback session, I did not want to change the inspiration of this design as I really liked the idea of it. So I just adjusted everything on 1 single bilateral axis line in the middle, the tear-off papers at the bottom considers as one unit that is centred-aligned on the bilateral axis line as well.

Font(s) used for final outcome: Univers LT Std (Light, Roman, Bold)

3.3 Final Outcome of Typographic Systems

Fig. 3.3 Final Axial System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.1 Final Radial System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.2 Final Dilatational System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.3 Final Random System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.4 Final Grid System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.5 Final Transitional System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.6 Final Modular System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.7 Final Bilateral System (JPEG) (Week 2, 3/10/25)

Fig. 3.3.8 Final Typographic Systems (PDF) (Week 2, 3/10/25)

Fig. 3.3.8 Final Typographic Systems with Grids (PDF) (Week 2, 3/10/25)

4.0 PROCESS WORK: TASK 1B FINDING TYPE

4.1 Research

I tried to narrowed my research to images related to nature. Below are the pre-selected images and the final chosen image. All images are taken from Pinterest or Pexels.

Image #2 (middle) was chosen as the image to extract the letterforms.


Fig. 4.1 Pre-selected images (Week 3, 6/10/25)

4.2 Ideation

1. Deconstructing Image & Identifying Letterforms

I first deconstructed the image by using the Image Trace feature > Outlines with Source Image, then viewed the image again with outlines only and highlighted the letters I identified in black.

Fig. 4.2 Deconstructing image (Week 3, 6/10/25)

Fig. 4.2.1 Letterform extraction (Week 3, 6/10/25)

2. Refinement Process

- Initial Extraction vs Reference Font

Fig. 4.2.2 Initial Extraction vs Reference Font (Week 3, 6/10/25)

- Letter Extraction on Baseline

Fig. 4.2.2 Letter extraction on baseline (Week 3, 6/10/25)

- Reference font — Karopapier

Fig. 4.2.2 Reference font (Week 3, 6/10/25)

- Refinement Attempt #1

This is my first attempt on the letterform before the feedback session. I left gaps in between each letter to retain the extracted letters' original form and characteristic. 

Fig. 4.2.2 Refinement Attempt #1 (Week 3, 6/10/25)

- Refinement Attempt #2

After the feedback session, Mr. Vinod said the structure of the letterforms are okay, but the characteristic of the image is too minimal and advised to add more "cracks" to the letters. I made a clipping mask of the image's pattern onto the letterforms to create that effect.

Fig. 4.2.3 Clipping mask (Week 3, 8/10/25)

After adding the patterns to all the letters, I felt that it was a bit too much and the readability of the letters is not good when looking from afar. It also resembled more of a giraffe/cow (?) pattern instead of a leaf structure.

Fig. 4.2.4 Refinement Attempt #2 (Week 3, 6/10/25)

- Refinement Attempt #3 (Final)

I redid the clipping mask with lesser patterns and also did extra adjustments on the height and width of each letter based on the reference font to make it more cohesive. This attempt is the final letterform.

Fig. 4.2.5 New clipping mask (Week 3, 8/10/25)

        
Fig. 4.2.6 Clipping mask, height & width adjustment (Week 3, 7/10/25)

Fig. 4.2.7 Refinement Attempt #3 & Final Letterform (Week 3, 7/10/25)

- Overall Refinement Process

Fig. 4.2.8 Overall refinement process (Week 3, 7/10/25)

3. Movie Poster

We have to design the movie poster using the letterforms we created with a relevant image.
- Size: 1024px x 1024px
- Export JPG 300 ppi

As my letterforms were extracted from an image of a leaf structure, I wanted to use another image that has similar patterns. Below are the pre-selected images, and image #2 (middle) was chosen as the background for the poster.

Fig. 4.2.9 Pre-selected backgrounds for poster (Week 3, 15/10/25)

- Attempt #1

I changed the image to a B&W background as the original shade of green kinda sucks. I also wanted to mute the thicker midribs/veins as it was too striking for me. The overall adjustments for the background was making it B&W and adjusting the brightness, exposure, contrast, and curves.

As for the title, I added a gradient grain texture following a YT tutorial, but the summarised steps were: window > transparency > mask > gradient > texture > grain.

For the 1st variation (left) as shown below, the veins of the leafs still stood out too much for me and can steal the attention away from the title. I also thought I put too much words and it's close to being messy.

This leads to the 2nd variation (right), even more muted background and lesser text with spacing adjustments. The 2nd variation is the poster I showed to Mr. Vinod for feedback.


Fig. 4.2.10 Poster attempt #1 with variations (Week 3, 15/10/25)

- Attempt #2

After getting feedback from Mr. Vinod, I agree that the background was boring. He suggested to change the original image to grayscale, then pick a green shade using the duotone feature in Photoshop. I tried doing that in class a few times but the outcome just wasn't great. 

Ultimately, I chose to change to another image entirely that has more spatial planes to work around with. Fig. 4.2.11 is the new image I chose.

Fig. 4.2.11 Newly chosen background image (Week 3, 15/10/25)

In this attempt, I masked a part of the leaf in PS, transferred to AI, and layered on top some parts of the title to create more composition layers. For the 1st variation (left), I removed the gradient grain texture in the title, and it somehow did not balance well with the background. 

So I brought back the gradient grain texture and reduced the transparency to 80% for the 2nd variation (right). I also made the shadow of the masked leaf more obvious to have clearer foreground, middle ground, and background. Made very minimal placement adjustments as well. I prefer the 2nd variation as the title was more fitting for a psychological thriller film which was what I wrote in the poster.

Attempt #2 Variation #2 (right) is the final movie poster.


Fig. 4.2.12 Poster attempt #2 with variations (Week 3, 15/10/25)

Fig. 4.2.13 Adding drop shadow to masked leaf (Week 3, 15/10/25)

4.3 Final Outcome of Finding Type

Fig. 4.3 Original Image & Extraction (Week 3, 7/10/25)

Fig. 4.3.1 Overall Refinement Process (Week 3, 7/10/25)

Fig. 4.3.2 Extracted Letterform on Baseline (Week 3, 7/10/25)

Fig. 4.3.3 Reference Font - Karopapier (Week 3, 7/10/25)

Fig. 4.3.4 Final Letterform on Baseline (Week 3, 7/10/25)

Fig. 4.3.5 Original Extraction (top) & Final Letterform (bottom) Comparison
(Week 3, 7/10/25)

Fig. 4.3.6 Final Movie Poster (JPEG) (Week 3, 15/10/25)

Fig. 4.3.7 Final Movie Poster (PDF) (Week 3, 15/10/25)

5.0 FEEDBACK

Week 1
General feedback: Mr. Vinod explained about the module brief, how to organise our e-portfolio, and went through the necessary procedures for Task 1 with us.

Week 2
General feedback: Use minimal graphics and shapes. If it does not serves a purpose, it is unnecessary. In the modular system, the units need to be interchangeable and the placement should not breach other units. 

Specific feedback: Most of the typographic systems were approved, but I will need to redo my modular and bilateral design as it does not follow the framework of its respective system.

Week 3
General feedback: Observe the characteristics of the image and implement them into the letterforms. 

Specific feedback: Add more "cracks" to the letterforms, the characteristic of the pattern is too minimal.

Week 4
General feedback: Take note on the consistency of strokes, don't crowd the title with the credits text. Things need to be optically correct, not mathematically correct.

Specific feedback: Background is too boring, change it to a coloured background.

6.0 REFLECTION

Experience

This is my first time having Mr. Vinod as my lecturer and I personally really liked his classes. Very straight to point. But focusing on my experience on the task itself, I felt that Typographic Systems were more demanding compared to Finding Type. Although it was quite hectic chasing short deadlines, I pushed my limits to further expand my design thinking skills in order to produce the best possible outcome in a short period of time. 

Observations

For Typographic Systems, I observed that a good balance of white space and text is the key to produce a visually appealing and intriguing design. Using grids as guides are essential in maintaining consistent and cohesive layouts. I also noted on VERY heavy emphasis on using minimal graphics. As for Finding Type, it is important to observe and understand the natural characteristics of the subject's form, and implement it effectively into the letterforms created. 

Findings

Through both exercises, I discovered that effective typography designs relies heavily on intentional restraint and structural discipline. I learned that doing more does not necessarily mean better. Often, adding too many elements only makes the layout cluttered and weakens the message. Besides that, I also learned that observation is an important skill in developing critical thinking quickly. Observing other people's work in detail allows us to see different approaches to solving the same design problems. 

7.0 FURTHER READING

1. Typographic Systems by Kimberly Elam

Figure 7.0 Typographic Systems, Kimberly Elam (2009)

This book provides a concise overview of the 8 major structural systems beyond the traditional ordering systems of the grid – including axial, radial, dilatational, random, grid, modular, transitional, and bilateral systems.

The typographic systems are akin to what architects terms shape grammars. Through shape grammars, styles are identified via rule-based compositional systems. Typographic systems are complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast comes into play.


Figure 7.1 Finding Type: A Novel Typographic Exercise, Vinod Nair (2023)

Breakdown of Steps to Complete Finding Type:
  1. Finding an image (natural or manmade, with strong and consistent characteristics).
  2. Deconstructing an image.
  3. Identifying letterforms.
  4. Extracting letterforms.
  5. Identify a reference.
  6. Refining letterforms.
    - Introduce consistency in height, width and contrast.
    - Deliberate on retaining or removing characteristics.
    - Decide what areas require simplification.
    - The objective is not to reach the end of the continuum but rather to end somewhere between the two points.

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