Advanced Typography: Task 1 Exercises

21/4/2025 - 18/5/2025 / (Week 1- Week 4)

Aricia Man Yi Xuan / 0375026

Advanced Typography / GCD61004

Bachelor of Design (Hons) in Creative Media

Task 1: Exercises - Typographic Systems & Type & Play

Google Drive Link

TABLE OF CONTENT

3. Exercise 1: Typographic Systems

4. Exercise 2: Type & Play

Part 1

Part 2

Final Outcome

6. Feedback

8. Further Reading

LECTURES
- Notes -

Week 1 (21/4/2025)

Lecture 1: Typographic Systems (Link here)

All design is based on a structural system. There are 8 major variations:

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

Typographic organization depends on communication and includes elements like hierarchy, reading order, legibility, and contrast.

Typographic systems are similar to architectural "shape grammars" — they follow unique rules that guide decision-making.

Axial System - All elements are organized to the left or right of a single axis.
Radial System - All elements are extended from a point of focus.
Dilatational System - All elements expand from a central point in a circular fashion. It could be simple/complex.
Random System - Elements appear to have no specific pattern or relationship.
Grid System - A system of vertical and horizontal divisions.
Transitional System - An informal system of layered banding.
Modular System - A series of non-objective elements that are constructed in as a standardized units.
Bilateral System - All text is arranged symmetrically on a single axis.

Fig.1.1.1 Types of Typographic Systems / (Week 1, 21/4/2025)

"Typography is the use of type to advocate, communicate, celebrate, educate, elaborate, illuminate, and disseminate. Along the way, the words and pages become art." — James Felici.

Pre-recorded Videos Tutorials Provided:

1. InDesign Formatting

2. Modular System

Week 2 (30/4/2025)

Lecture 2: Typographic Composition (Link here)

Fig.1.2.1 Principles of Design - Emphasis

Principles of design composition are emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective.

Fig.1.2.2 The Rule of Thirds

The Rule of Thirds is a photographic guide to composition, which involves dividing an image into a 3x3 grid. The intersecting lines are used as guide to place the points of interest, within the given space.

Fig.1.2.3 Examples of Environment Grid

This system is based on the exploration of an existing structure or numerous structures combined. An extraction of lines both curved and straight are formed.

Fig.1.2.4 Form and Movement

This system is based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement.

"There is a fine line between genius and insanity, just as there is a fine line between legibility, readability & memorability." — first point came Oszar from Levant, second from Mr. Vinod.

Week 3 (5/5/2025)

Lecture 3: Context and Creativity (Link here)

Why Handwriting is important?

The first mechanical letterforms were designed to imitate it.
It set the standards for form, spacing, and conventions mechanical type.
The look of hand-drawn letters depends on the tools & materials used, such as sharpened bones, charcoal, sticks, plant stems, brushes, feather, and steel pens.
The materials used for writing, like clay, papyrus, palm leaf, animal skins (vellum & parchment) and paper.

Why Greek influence on Rome, but not Egyptian/Near Eastern influence on Greece?

In the 19th century, during the British Empire's rise, African and older non-European civilizations were devalued, while Greece and Rome were glorified.
This downplayed the influence of civilizations like Egypt, Mesopotamia, the Indus Valley, China, etc.
An example is the creation of "Indology" by Max Mueller, who formed theories (e.g., Aryan theory) without visited India before, filtered through colonial lenses.
It also affects Classicism, Egyptology, Africanism, Indology and Orientalism.

What is important?

Modern typographers honor historical handwritten styles through research and recreation in printed form.
The digital revolution let to the digitization and commercialization of historic typefaces in the West.
Colonialism disrupted Eastern heritage and cultural practices, stalling development in literature, arts and crafts, languages and scripts.

Local Movements and Individuals:

In Malaysia, murasu.com spear-headed by programmer and typographer Muthu Nedumaran.
The programming language needed to encode various vernacular writing system, now used in mobile and desktop devices.
The local design group Hurut focuses on digitizing and revitalizing localized Latin and vernacular letters painted on walls and signages.
In India, Ek Type and Type Foundry have led innovative efforts in developing vernacular typefaces.
Young designers are encouraged to draw inspiration from their histories, civilization, culture and communities instead of imitating unrelated context, relatability or relevance.

"Looking behind gives you context. Looking forward gives you opportunities." — Mr. Vinod.

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INSTRUCTIONS

Fig.2.1 Module Information Booklet / (Week 1, 21/4/2025)

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TASK 1

Exercise 1: Typographic Systems

For exercise 1, we need to create typographic messages through the 8 systems (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral), using the content below:

The Design School,

Taylor's University

All Ripped Up: Punk Influences on Design
or
The ABCs of Bauhaus Design Theory
or
Russian Constructivism and Graphic Design

Open Public Lectures:
June 24, 2021
Lew Pik Svonn, 9AM-10AM
Ezrena Mohd., 10AM-11AM
Suzy Sulaiman, 11AM-12AM

June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12AM

Lecture Theatre 12

Requirements:
- Use Adobe InDesign
- Size 200 x 200 mm
- Can add ONE additional colour
- Graphical elements (line, dot, etc.) can be used but limitedly.
- Use only the 10 Fonts provided

Submission:
- Export each system as JPEG @300ppi (1024 px).
- PDF with guides and without guides.
- Compile all 8 systems together for PDF presentation (turn off spreads).

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- 3.1 Sketches -

I decided to go with "All Ripped Up: Punk Influences on Design" for the title.

- References -

Fig.3.1.1 References & Link to Source / (Week 1, 25/4/2025)

To begin the process of my 8 system poster design, I did some research and gathered references from different poster designs to get some ideas.

Fig.3.1.2 Sketches of 8 systems / (Week 1, 25/4/2025)

Here are my sketches of the 8 systems. I drew TWO different layout sketches for each system to explore more compositions and arrangements. Once I finalized the sketches, I moved forward to work in Adobe InDesign.

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- 3.2 InDesign Process -

Before working on InDesign, I watched Mr. Vinod's pre-recorded tutorial videos to have guidance on how to get started.

Fig.3.2.1 Progression #1 / (Week 1, 25/4/2025)

First I created multiple pages for each typography system, then I inserted the given text contents into it and separated them into headings and body text.

1. Axial

Fonts used:

1. Bembo Std (Extra Bold, Bold Italic)

2. Univers LT Std (65 Bold, 45 Light, 45 Light Oblique, 75 Black)

3. Gill Sans Std (Shadowed)

Fig.3.2.2 Axial System Process - Attempt #1 / (Week 1, 26/4/2025)

I began to follow my sketches and started drawing the layout. I decided to enlarge the title and used different fonts to emphasize the punk theme. To highlight the "punk" word, I changed its colour to pink as the additional colour to stand out and make it visually louder, matching the punk aesthetic of being bold. In my second version #2 (right), I draw a straight slanted axis, making the layout much simple and neat. I also added graphical elements (square, lines) to both design.

2. Radial

Fonts used:

1. Gill Sans Std (Ultra Bold, Bold, Regular, Bold Italic, Light, Light Italic, Extra Bold Display)

2. Futura Std (Extra Bold Oblique)

3. ITC Garamond Std (Light, Book Narrow Italic, Ultra Italic, Ultra)

Fig.3.2.3 Radial System Process - Attempt #1 / (Week 1, 26/4/2025)

For the radial system, I used a circle and arranged the text like it was spreading outward around it. I emphasize the word "Punk" by enlarging it and using pink colour as well. I removed some of the circle to further emphasize the title of the poster.

3. Dilatational

Fonts used:

1. Gill Sans Std (Bold Italic, Shadowed, Light, Bold, Ultra Bold)

2. Adobe Caslon Pro (Semibold, Bold, Bold Italic, Regular, Italic)

Fig.3.2.4 Dilatational System Process - Attempt #1 / (Week 1, 27/4/2025)

At first, I was curious about how to make the text around the circle in a counterclockwise direction, so I searched for additional tutorials and learned how to use the Type on Path Tool. I used the Ellipse Tool to draw a circle and then applied the Type on Path Tool along with the Flip option to reverse the text direction. I played with different sizes of circles to create a dynamic feeling and arranged the composition of the text.

Fig.3.2.5 Type on Path Tool / (Week 1, 27/4/2025)

Type > Type on a path > Options > Flip

4. Random

Fonts used:

1. Bodoni Std (Poster, Poster Compressed, Semibold Italic, Poster Italic, Book Italic)

2. Gill Sans Std (Shadowed, Light Shadowed, Bold Extra Condensed, Bold, Ultra Bold, Shadowed)

3. Janson Text LT Std (75 Bold)

4. Bembo Std (Bold, Extra Bold, Regular)

5. ITC Garamond Std (Bold, Ultra Condensed)

Fig.3.2.6 Random System Process - Attempt #1 / (Week 1, 27/4/2025)

For the random system, I was inspired by Pinterest posters (#1, #2). It showed a playful way of placing text around the page. Thus, I place my text without following the grid. I used various sizes and fonts and rotated all the text at different angles and positions. I also repeated some of the text elements deliberately to fill up empty spaces and also create a more chaotic and dynamic composition. I love the #2 layout as it looks more chaotic and looks like musical notes dancing across the page.

5. Grid

Fonts used:

1. Univers LT Std (63 Bold Extended, 75 Black Extanded Oblique, 65 Bold, 45 Light)

2. ITC Garamond Std (Bold Italic, Ultra Condensed, Bold)

Fig.3.2.7 Grid System Process - Attempt #1 / (Week 1, 27/4/2025)

For the grid system, I created guides of a 3 x 3 grid by dividing the page into 3 rows and 3 columns. I placed the text elements inside those sections, aligning everything neatly.

6. Modular

Fonts used:

1. Univers LT Std (73 Black Extended, 93 Extra Black Extended Oblique, 65 Bold, 45 Light, 67 Bold Condensed Oblique)

Fig.3.2.8 Modular System Process - Attempt #1 / (Week 1, 27/4/2025)

For the modular system, I created guides of 6 rows x 3 columns grid, creating small modular units. I used squares as outlines to place the information inside to create a clear block effect.

7. Transitional

Fonts used:

1. Adobe Caslon Pro ( Semibold, Bold, Italic)

2. Gill Sans Std ( Light Shadowed)

3. Univers LT Std (65 Bold, 65 Bold Condensed, 45 Light, 45 Light Oblique, 93 Extra Black Extended Oblique, 67 Bold Condensed Oblique, 55 Roman, 75 Black)

4. Janson Text LT Std (76 Bold Italic)

Fig.3.2.9 Transitional System Process - Attempt #1 / (Week 1, 27/4/2025)

For the transitional system, I used a combination of the Type on Path Tool and the Pen Tool to create the movement and also added non-objective elements like lines to my design. The lines were to guide the reader's eye across the page, following the titles to information.

8. Bilateral

Fonts used:

1. Univers LT Std (73 Black Extended, 93 Extra Black Extended Oblique, 53 Extended Oblique, 65 Bold, 45 Light)

Fig.3.2.10 Bilateral System Process - Attempt #1 / (Week 1, 27/4/2025)

Lastly was the bilateral system; I organized it into a balanced and symmetrical layout. The text was placed in a way that mirrored across a central axis.

Fig.3.2.11 8 system compile / (Week 1, 27/4/2025)

Here are the final layout designs I chose from each typography system.

After receiving feedback (Week 2, 30/4/2025):

Mr. Vinod pointed out that the bilateral system is not symmetrically balance, so I decided to go for my previous process (Fig.3.2.10) of the bilateral system but slightly changed a bit of the composition and font styles.

Fig.3.2.12 Bilateral System - Attempt #2 / (Week 1, 27/4/2025)

This is my attempt #2 for the bilateral system. I aligned the content along a central vertical axis, and the titles are center-aligned.

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- 3.3 Final Outcome -

Fig.3.3.1 Final Axial System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.2 Final Radial System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.3 Final Dilatational System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.4 Final Random System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.5 Final Grid System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.6 Final Modular System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.7 Final Transitional System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.8 Final Bilateral System - JPEG / (Week 2, 30/4/2025)

Fig.3.3.9 Final Task 1: Typographic Systems - PDF with grid / (Week 2, 30/4/2025)

Fig.3.3.10 Final Task 1: Typographic Systems - PDF without grid / (Week 2, 30/4/2025)

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EXERCISE 2: TYPE & PLAY - FINDING TYPE

For Exercise 2: Finding Type, we need to select an image of a man-made object (chair, glass, etc.) or structures (buildings), or something from nature (human, landscape, leaf, plant, bush, clouds, hill, river, etc.).

Requirements:

- Analyze, dissect and identify potential letterforms within the dissected image.
- Extracted letterforms evolve from crude to refined while maintaining their core features.

- Combine letterforms with the source image, ensuring the text forms a symbiotic relationship with the image.

- 5 letterforms (minimum) extracted.

Submission:

- Image

- Extracted letterforms on baseline (illustrator)

- Reference font

- Final letterforms on baseline

- Original extraction and final letterforms next to each other

PART 1

- Image Selected -

Fig.4.1.1 Progression #1 - Abalone Shell / (Week 2, 1/5/2025)

At the beginning of this task, I explored various types of textures. I wanted to find something that is special and had never been chosen before of the senior or examples given. Hence, I came across an image of an abalone shell guitar picks. I love the layering and iridescent texture of it.

- Extraction -

Fig.4.1.2 Progression #2 - Letterform Extraction / (Week 2, 4/5/2025)

Fig.4.1.3 Alphabets extracted / (Week 2, 4/5/2025)

From the image, these are the alphabets that I found (L, U, O, C, A, S). I love the letters "U" and "O"; they have a marine life feeling like a shell or coral.

- Refinement Process -

Fig.4.1.4 Reference Font - Lobster Font / (Week 2, 4/5/2025)

To refine the extracted letters, I chose Lobster Two as my reference font. It gives me a strong oceanic vibe and a sense of motion. It also has a playful and joyful energy that matches the mood I wanted to express.

Fig.4.1.5 Progression #3 - Refining Letterforms According Font Reference / (Week 2, 4/5/2025)

I started by typing the same letters using the reference font, then overlaying and adjusting the stroke weight, curvature, and proportions of the extracted letters. I also added a guides line to it.

Tools Used: Object > Envelop Distort > Make with Mesh

Below is my refinement process:

Fig.4.1.6 Process / (Week 2, 4/5/2025)

Fig.4.1.7 Attempt #1 / (Week 2, 4/5/2025)

After receiving feedback (Week 3, 7/5/2025):

During the feedback section, Mr. Vinod commented that I should improve the design by adding a few more lines to better reflect the characteristic in the reference image. Hence, below is my refined design.

Fig.4.1.8 Attempt #2 / (Week 3, 7/5/2025)

I added more contour lines within the letterforms to mimic the layered effect in abalone shells. It looks much better compared to Attempt #1.

- Final Outcome -

Fig.4.1.9 Image and Extraction / (Week 3, 7/5/2025)

Fig.4.1.10 Overall Process / (Week 3, 7/5/2025)

Fig.4.1.11 Extracted letterforms (Baseline) / (Week 3, 7/5/2025)

Fig.4.1.12 Reference Font / (Week 3, 7/5/2025)

Fig.4.1.13 Final Letterform (Baseline) / (Week 3, 7/5/2025)

Fig.4.1.14 Original Extraction & Final Letterforms comparison / (Week 3, 7/5/2025)

Fig.4.1.15 Exercise 2: Type & Play (Part 1) - PDF / (Week 3, 7/5/2025)

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PART 2: POSTER

In Part 2 of this exercise, we have to create a poster using the final type design in Part 1 and add an additional subtitle, information, logo, and colour to the poster.

Submission:

- Poster size: 1024px x 1024px

- Export JPG 300ppi

- Images -

Fig.4.2.1 Collected images / (Week 3, 8/5/2025)

Since my letterforms were extracted from a photograph of abalone shell guitar picks, I need to find a similar image of it. Here are some images I found using Pinterest.

Fig.4.2.2 Image Selected / (Week 3, 8/5/2025)

I chose this image for my poster background, as when I saw this picture, an idea layout came into my mind immediately.

- Layout Process -

Fig.4.2.3 Progression #1 - Select and Mask / (Week 3, 8/5/2025)

I began by importing the image I chose into Adobe Photoshop. Then, I used the select and mask tool to select the subject.

Fig.4.2.4 Progression #2 - Adding shadows / (Week 3, 8/5/2025)

Next, I wanted to give the picks more depth and a realism feeling, so I added shadow to them.

Steps:
1. Duplicate the layer

2. Applied "Linear Burn"

3. Hue/Saturation > check "colorize"

Fig.4.2.5 Progression #3 - Forming word / (Week 3, 8/5/2025)

For the title, I arranged the letters "L, U, O, C, A, S" to form the word "OSCULA", as the title. I discovered that "Oscula" has a couple of meanings. In biology, it refers to the exit pores or openings of sponges. In Latin, oscula means "a little kiss." I think it was quite an interesting and romantic word.

Fig.4.2.6 Progression #4 - Colour fill / (Week 3, 8/5/2025)

Later on, I copy the letterforms from Illustrator to Photoshop. I decided to change its colour to a soft pink tone as I'm trying to create a sense of romance. I also added an additional small graphic of a kiss to the poster as the background.

Fig.4.2.6 Progression #5 - Adding shadows / (Week 3, 8/5/2025)

I added shadow to the title word as well to enhance its visibility.

Fig.4.2.7 Progression #6 - Applying texture to background / (Week 3, 8/5/2025)

I think the background was too flat and didn't match the realism feeling, so I added a texture, "Mosaic Tiles," to it. It looks much better, like the abalone guitar picks were placed on a floor.

Fig.4.2.6 Progression #7 - Letterforms mistakes / (Week 3, 8/5/2025)

While reviewing the composition, I noticed that the texture lines within the word "OSCULA" appeared only as outlines (Fig.4.2.7) and weren't filled with colour. Hence, I switched back to Illustrator to fill in the colour, then copied and pasted the updated version back into Photoshop.

Fig.4.2.7 Progression #8 - Subtitle & Information / (Week 3, 8/5/2025)

I added additional information and a subtitle to the poster.

Title: OSCULA

Subtitle: Romance Reflected in the Shell of the Sea

Poetic intro line: A tender dance of light, longing, and unspoken moments.

Produced by: Taylor's University

Created by: Aricia Man Yi Xuan

Organized by: The Design School

Fig.4.2.8 Progression #9 - Added logo / (Week 3, 8/5/2025)

Finally, I find a logo as my production logo (Abalone Entertainment - Sega Retro) and added into my poster.

Steps: Adobe Illustrator > copy & paste the logo > Object > Image Trace > Make and Expand > paste it to Photoshop

*After finalizing the poster, I realized I made a big mistake when creating the file size. I was supposed to set the file sizes to 1024px by 1024px, but I accidentally used an A4 size. I quickly redo it and make it to the requirement.

After receiving feedback (Week 4, 14/5/2025):

Mr. Vinod pointed out that I need to improve it and adjust the problem in my poster. Hence, I refined it by resizing the title size, and I used a dilatational system for the layout. I also added a gradient to the black box to make it more natural. For the information, I also adjust the placement to enhance the readability. I also added one more logo into the poster.

- Final Outcome -

Fig.4.2.9 Final Outcome - JPG / (Week 4, 14/5/2025)

Fig.4.2.10 Final Outcome - PDF / (Week 4, 14/5/2025)

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FEEDBACK

Week 1 (23/4/2025)
General Feedback:

Mr. Vinod briefed us about the MIB and the task that we're going to be done in this semester.

Week 2 (30/4/2025)

General Feedback:

Avoid extreme angles; it will break reading rhythms. Always ensure it's good contrast; the bilateral system should be symmetrically balanced; you must have a margin & grids (columns and rows) before creating an artwork. A good design must command the space (weight/height); axial should have 1 axis only. Random requires chaos, which creates visual impacts; graphics can't overwhelm the information. Avoid the lines too close to the baseline; avoid elements putting too close to the edge. Alignment creates readability. Modular can be the same units/size of square if you don't use grid.

Specific Feedback:

Axial is good; radial very good; dilatational good, random very good, grid good, modular looks right, transitional excellent, bilateral is not symmetrical.

Week 3 (7/5/2025)

General Feedback:

It's important to maintain consistency in style, weight, and form. Make sure to carefully observe the characteristics of the image you selected.
Specific Feedback:

There are multiple lines in the picture, draw a few more lines in your font and make it more consistent.

Week 4 (14/5/2025)

General Feedback:

You need to have a margin before creating your layout; readability it's important, make sure the information is clear instead of become a design.

Specific Feedback:

Interesting. Why the "O" is different colour? You can increase the title size to make it run; the readability need to improve; margin is not enough; instead of creating the box, you can add a gradient; you can use dilatational system.

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REFLECTION

Experiences:

For Exercise 1: Typographic System, it was quite an interesting exercise to create 8 different typographic systems. In the process, I actually got quite confused with the grid and modular systems. I wasn't sure how rigid the layout should be, as they look almost the same. I ended up being stuck at that part for a long time. I found a lot of senior works to figure out what the difference is. Eventually, I noticed that a grid system is a structured layout using horizontal and vertical lines to organize, while a modular system divides into smaller units using boxes. Besides, I also felt frustrated when creating random systems as I wasn't used to doing something that looked "wrong". I learned to push past perfectionism.

For exercise 2: Type & Play, it was honestly one of the most exciting parts of this module so far. Starting with an image and pulling out letterforms from it, then refining the letterforms and creating a poster. Digitizing the letters was a challenge. Since they weren't "perfect" to begin with, I had to strike a balance between keeping their original character and making them clean enough to read. But overall, I fount the process oddly satisfying, even though the first attempt, #1 (Fig.4.1.7), was pointed out by Mr. Vinod as having some problems. It's okay, we need to learn from mistakes! There was also a part I felt was challenging: finding an image for the poster. As my extracted image was quite a specific object — abalone shell guitar picks — there weren't many source images to choose from. Eventually, I found it on Pinterest. Pinterest is the best~

Observation:

For Exercise 1: Typographic System, one thing I observed about my own design process was that I tended to use a wide variety of font types across the 8 systems. At first, I thought this would give me more freedom to experiment and also help me explore different moods. However, I noticed that most of the seniors only used two to three font styles. Hence, I started to wonder whether using too many typefaces might affect the overall aesthetic and coherence of my work. Some layouts looked a bit disconnected when the font styles didn't complement each other. This made me reflect on the importance of consistency and how carefully chosen type pairings can enhance.

For exercise 2: Type & Play, I noticed how important it is to refine the letterforms carefully while still maintaining their original character. It's not just cleaning up the shapes; we need to understand what makes them unique in the first place. That means I had to pay close attention to the details and textures in the extracted image. For example, my abalone shell guitar picks actually had a beautiful layered texture, which was the distinctive part of the object. But in my attempt #1 (Fig.4.1.7), I didn't really draw out those layered qualities in my letterforms, so the result didn't clearly reflect where the inspiration came from. Thus, observation is very important.

Findings:

Overall, I learned to build a stronger foundation in layout design and also learned 8 typographic systems that I would probably use in my future artworks. I also found that type design can be found anywhere. I actually started to observe my surroundings without even thinking about why I was doing this, but I realized that our lives are full of design, even the textures on the ground, patterns on objects, or even shadows on walls. My life began to be interesting every day just to observe these little things.

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Aricia Man Yi Xuan (0375026)

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