Advanced Typography: Task 1 Exercises
21/04/2025 - 13/05 /2025 / Week 1 - Week 4
Ye YingYing /
0364398
Advanced Typography / Bachelor of Design (Hons) in Creative
Media / Taylor's University
TABLE OF CONTENTS
- Lecture 1 - Typographic System
- Typographical organization is complex because it depends on communication to function.
- Key criteria: hierarchy, order of reading, legibility, contrast.
- Typographic systems are like architects' "shape grammars”, which have a set of rules that are unique and provide a sense of purpose that focuses and directs the decision-making. (Elam, 2007)
- Even though some people feel systems limit intuition, they provide a strong framework to guide learners as intuition matures.
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| Fig. 1.1.1- Major System [week 1- 27/04/2025] |
All elements are organised to the left or right of a single axis.
- Information is divided into groups, then placed at different angles on different sides of the axis
- The axis is not necessarily straight, which can also be bent
- The axial system requires a single line
All elements are extended from a point of focus (spread out)
- There can be multiple points
All elements expand from a central point in a circular fashion
- There can be multiple rings of circles
- Can hierarchically place the information
- Can divide the information into clubs
- It can be a simple but also complex organization
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| Fig. 1.1.2- Major System [week 1- 27/04/2025] |
Elements appear to have no specific pattern or relationship
- There is a method in the chaos
A system of vertical and horizontal divisions
- Different sizes and weights can create emphasis and hierarchy
An informal system of layered banding
- Segregating information within certain bands
- Different colours/weights/sizes can contribute to the readability
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| Fig. 1.1.3- Major System [week 1- 27/04/2025] |
All texts are arranged symmetrically on a single axis
- Often used in invitation cards and other types of formal invites
- Every system needs to be used appropriately
A series of non-objective elements that are constructed in as standardised units
- Each units have to be standardised (same size)
- Modular allows you to move the individual units to different portions of the page (replacement)
- You can shift different elements in different spaces
- Lecture 2 - Typographic Composition
1. Principles of Design Composition
- create visual harmony and effective design
- A composition guide that is often used in photography and design. Divides a layout into 3 columns and 3 rows. The points of interest are placed at the intersections of the lines to create a natural visual flow.
- Isolation
- Repetition
- Balance
- Symmetry
- Alignment
- Contrast
- Rhythm – A visual tempo or beat in the design.
- Emphasis – Drawing attention to specific elements.
- Perspective – Creating depth and spatial relationships.
- Asymmetry – Uneven but still visually balanced composition.
- A composition guide that is often used in photography and design. Divides a layout into 3 columns and 3 rows. The points of interest are placed at the intersections of the lines to create a natural visual flow.
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| Fig. 1.2.1 - Rule of Thirds [week 2 - 03/05/2025] |
3. Typographic Systems
Grid System (Swiss/Modernist Style)
- Most widely used system.
- Originated from letterpress printing.
- Provides structure and clarity.
- Modernist typography often uses this system for clean, consistent layouts.
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| Fig. 1.2.2 - Grid System [week 2 - 03/05/2025] |
More Systems
Environmental Grid- Based on exploring existing structures or a combination of them.
- Not just strict lines, can also reflect architecture, maps, or patterns.
- Used to create dynamic and context-driven compositions.
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| Fig. 1.2.3 - Environmental Grid [week 2 - 03/05/2025] |
- Uses grid principles to introduce motion over multiple pages.
- The placement of a form on a page over many pages creates movement.
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| Fig. 1.2.4 - Form and Movement [week 2 - 03/05/2025] |
- Lecture 3 - Context & Creativity
1. Handwriting and Early Letterforms
- Early mechanical types imitated handwriting.
- Handwritten letterforms were influenced by tools and materials.
- These letterforms shaped how modern typography looks, including spacing and structure.
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| Fig. 1.3.1 - Evolution of the Latin Alphabet [week 3 - 10/05/2025] |
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| Fig. 1.3.2 - Evolution of the Middle Eastern [week 3 - 10/05/2025] |
Western Development
- Cuneiform (c. 3000 BCE) – One of the earliest writing systems.
- Hieroglyphs – Used ideograms and phonograms to convey meaning and sound.
- Greek Letterforms (5th C. BCE) – Freehand, no serifs originally.
- Roman Uncials (4th C.) – Rounded letters, faster to write.
- English Half Uncials (8th C.) – More slanted, condensed forms.
- Carolingian Minuscule – Introduced spaces between words, sentence capitals, and punctuation.
- Blackletter (12–15th C.) – Dense, vertical strokes, optimized for material saving.
- Italian Renaissance – Rationalized, perfected Roman letterforms based on classical principles.
- Indus Valley Script (3500–2000 BCE) – Undeciphered, possibly logo-syllabic.
- Brahmi Script (450–350 BCE) – Foundation of many modern South and Southeast Asian scripts.
- Southeast Asian Scripts – Evolved from Brahmi, adapted by local communities like the Peninsula Malays.
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| Fig. 1.3.3 - Evolution of the Chinese Script [week 3 - 10/05/2025] |
- Evolved from pictographic forms to complex character systems with deep historical roots.
2. Multiscript & Vernacular Typography
- Multiscript type design involves creating fonts for Latin and local scripts together.
- Designers are encouraged to draw from their local culture and language systems.
- This opens doors for innovation rooted in tradition.
3. Local Context & Creative Inspiration
2 Reasons for Designing Typefaces (Xavier Dupre, 2007)
- Creativity should come from observing your environment.
- Local culture, traditions, and surroundings offer meaningful design ideas.
- Lecture 4 - Designing Type
- Type design carries social responsibility, so it must continuously improve readability.
- It is also a creative and artistic form of expression.
1. Frutiger by Adrian Frutiger (1968)
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| Fig. 1.4.1 - Frutiger [week 4 - 16/05/2025] |
- Designed by the designer Adrian Frutiger (Swiss type) in 1968, specifically for use in the French airport.
- Purpose: Clean, distinctive, and highly legible from near or far.
- Considerations: Must be readable in poor lighting and when viewed quickly
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| Fig. 1.4.2 - Verdana [week 4 - 16/05/2025] |
- Designed to address specific technical challenges
- Purpose: Extremely legible at small screen sizes, optimized for digital devices.
- Considerations: Based on pixel structure rather than traditional tools like pens or chisels.
3. Johnston Sans by Edward Johnston (1916)
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| Fig. 1.4.3 - Verdana [week 4 - 16/05/2025] |
- Created with a request for bold simplicity
- Purpose: used as a new typeface in posters and signage on London's Underground Railway and clarity in public posters/signs
General Process of Type Design
1. Research
- Study type history, anatomy, conventions, terminologies, sidebearing, metrics, hinting, etc
- Understand type’s purpose and what it would beused for We should examine existing fonts that are presently being used for inspiration/ ideas/ reference/ context/ usage patterns and more
- Can be done traditionally (paper, ink) or digitally.
- Traditional methods offer more natural hand strokes.
- Software: FontLab, Glyphs, Adobe Illustrator.
- Focus on both the letterform and counter form, which affects readability.
- An important component in the design thinking process.
- The results of the testing are part of the process of refining and correcting. Prototyping is one of them.
- Readability and legibility of the typeface become an important consideration depending on the typeface category ( display type/text type)
5. Deploy
Typeface Construction:
- There are always teething problems that do not come to the fore during the prototype and testing stages.
- The rigour of the testing is important so that the teething issues remain minor.
Typeface Construction:
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Fig. 1.4.4 - Construction of grid for the Roman Capital using
8*8 cells [week 4 - 16/05/2025] |
Roman Capital
Construction & Considerations
- The grid consists of a square with a circle inside that touches the lines of the square in four places.
- A rectangle with 3 quarters the size of the square is also included within the centre of the square.
- Using grids with circular forms can facilitate the construction of letterforms and is also a possible method to build/ design your letterform.
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Fig. 1.4.5 - Classification according to form and construction
[week 4 - 16/05/2025] |
- When designing a new typeface, various shapes and constructions need to be considered. One key visual adjustment involves allowing curved elements to extend slightly beyond the baseline and cap height, which also helps align curved and straight shapes more effectively.
- Visual correction also plays a role in adjusting the spacing between letters. Simply placing characters side by side with equal spacing doesn't result in balanced visual spacing. Instead, the spacing must be refined to achieve consistent optical white space—this process is known as "type fitting"
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Fig. 1.4.6 - Example of Fitting [week 4 - 16/05/2025] |
The need/ motivation of most typefaces can be intrinsic and
extrinsic.
Intrinsic
- The designer seeks out a form that comes close to fulfilling a desire.
- The designer maybe also identifies a gap/ problem and endeavours to solve it through the design of the typeface.
Extrinsic
Creating contrast is essential to highlight important information and make
distinctions between elements.
7 Types of Contrast by Carl Dair:
- When the designer has been commissioned or the student-designer was given a task to complete that involves designing a typeface.
- Lecture 5 - Perception and
Organization
Perception in typography focuses on how readers visually navigate and interpret content via:
- Contrast
- Form
- Organization
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Fig. 1.5.1 - Methods of Contrast by Rudi Rueff [week 5 -
20/05/2025] |
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Fig. 1.5.2 - Methods of Contrast by Carl Dair [week 5 - 20/05/2025] |
1. Contrast / Size
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Fig. 1.5.3 - Contrast / Size [week 5 - 20/05/2025] |
- A larger element (e.g., title or heading) naturally draws the reader’s attention.
- Most commonly used to differentiate titles from body text.
2. Contrast / Weight
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- Using bold type to stand out among lighter text of the same style.
- Visual emphasis can also be added through shapes like squares or rules
3. Contrast / Form
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- Refers to differences between capital and lowercase letters, Roman and italic, or condensed and expanded versions of a typeface.
4. Contrast / Structure
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- Involves variation in letterform structure across typefaces, such as monoline sans-serif vs traditional serif, italic, or blackletter
5. Contrast / Texture
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- Texture emerges when size, weight, form, and structure combine.
- Refers to how blocks of type appear both close-up and from afar.
6. Contrast / Direction
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- Contrast between vertical and horizontal orientations (or angles in between).
- Rotating or stacking text can create dramatic directional contrasts.
7. Contrast / Colour
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- Use of color to establish hierarchy.
- A second color usually has less visual weight than black-on-white.
- Attention must be given to tonal values when assigning color emphasis.
Form in Typography:
Form refers to the overall look and feel of a typographic composition. It
significantly influences visual impact and first impressions.
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- A strong form guides the eye and enhances memorability.
- The word "typography" comes from Greek: 'typos' (form) + 'graphis' (writing), meaning writing according to form.
- To represent a concept
- To represent that concept in a visual form
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Perceptual Organization / Groupings
“Gestalt” is a German term that means “the way a thing is put together.” It’s a psychological theory focused on how humans perceive grouped visual elements as a whole, rather than in isolation.
Developed by psychologist Max Wertheimer, the following Gestalt laws help
explain how we perceive and organize visual data:
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1. Law of Similarity
- Elements that are visually similar (in color, shape, size, etc.) are perceived as part of the same group.
2. Law of Proximity
- Elements that are close together tend to be perceived as a unified group.
- Distance between objects affects how we group them mentally.
3. Law of Closure
- Our minds tend to "fill in the gaps" to perceive complete shapes, even when information is missing or incomplete.
- We perceive elements as part of a continuous flow, even when they intersect.
- Alignment of elements guides this perception.
- The mind naturally favors balanced and symmetrical forms for a sense of stability and clarity.
6. Law of Simplicity (Prägnanz)
- The human brain simplifies complex visuals into the simplest, most recognizable forms.
- This principle supports our preference for clarity, order, and ease of understanding.
INSTRUCTION
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TASK 1
- Exercise 1 - Typographic System -
First Attempt
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| Fig. 2.1.1 - Typographic System First Attempt [week 1 - 26/04/2025] |
Refinement & Progress
After receiving feedback from Mr. Vinod on my first attempt, I refined
my work by adding color and simple graphic elements, but mainly kept the
layout. But I need to rework the modular system layout.
1. Axial System
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| Fig. 2.1.2 - Axial System [week 2 - 30/04/2025] |
- First, I defined the axis I wanted to use for the design, and then I dragged a guideline to help structure and align my layout.
- I kept the layout as it was but refined it by adding red colour and small elements behind important dates to emphasize key information.
2. Radial System
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| Fig. 2.1.3 - Radial System [week 2 - 30/04/2025] |
- First, I defined the points I wanted to use for the radial design. I used three points in total.
- Using the points as the center, I created two circles. Then, I used the Line Segment Tool, and I dragged lines outward from each point, adjusting the angles of each line to create the radial layout.
- I used the "Type on Path" tool to input text along the lines. I made sure the first letter of the text aligned (touched) the outer circle.
- I refined my design by adding red color and some circular elements.
3. Dilatational System
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| Fig. 2.1.4 - Dilatational System [week 2 - 30/04/2025] |
- I dragged a large circle as the main shape to expand, then added several smaller circles around it to form the foundation of the design.
- Using the "Type on Path" tool, I input my text along the paths of the circles.
- I carefully adjusted the angles and direction of the path to create a smooth, flowing feel throughout the layout.
- I refined it by adding red colour and bolding key parts of the text.
4. Random System
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| Fig. 2.1.5 - Random System [week 1 - 26/04/2025] |
- I created multiple textboxes and randomly typed in the text.
- I changed the color, font weight, leading, and others randomly.
- Change the directions for the text boxes, and do some overlapping.
5. Grid System
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| Fig. 2.1.6 - Grid System [week 2 - 30/04/2025] |
- I set up the columns on my page as a guide to structure the layout first.
- I then added the text, ensuring that the text boxes were aligned with the grid.
- For the refinement, I did some changes, some layout, typeface face and colour.
6. Transitional System
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| Fig. 2.1.7 - Transitional System [week 2 - 30/04/2025] |
- I started by placing the text directly onto the page, arranging it in a way that maintained a natural sense of flow.
- I made small adjustments to the placement and spacing to ensure the layout looked clean and visually balanced.
- For refinement, I explored with different background colours. One version with red and another with black, and I decided to go with black.
7. Modular System
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| Fig. 2.1.8 - Axial System [week 2 - 30/04/2025] |
- Because my first attempt didn’t get approved, I need to redo the layout.
- I set a standard unit to use first.
- I placed the word “PUNK” first and enlarged it to make it stand out.
- By using the standard unit as a guide, I began placing the rest of the text.
- I did a check by moving each text box to a different placement to ensure it aligned with the modular system.
- After finalizing the structure, I chose one layout that I felt worked best. I then added color and simple graphic elements.
8. Bilateral System
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| Fig. 2.1.9 - Bilateral System [week 2 - 30/04/2025] |
- I first set a single central axis to use for this system, placing a guideline down the middle of the layout to help align the text symmetrically.
- I arranged the text, making sure it was balanced and aligned properly. I also paid attention to maintaining enough white space to keep the layout clean.
- For refinement, I changed the background color to black.
Final Outcome of Typographic System
1. Axial System
- Fonts Used: Serifa Std
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| Fig. 2.1.10 - Axial System Final Layout [week 2 - 30/04/2025] |
- Fonts Used: Univers LT Std
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- Fonts Used: Janson Text LT Std
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- Fonts Used: Gill Sans Std
5. Grid System
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- Fonts Used: Serifa Std
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6. Transitional System
- Fonts Used: ITC Garamond Std
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| Fig. 2.1.15 - Transitional System Final Layout [week 2 - 30/04/2025] |
(I added a grey border to have a clearer view)
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7. Modular System
- Fonts Used: Adobe Caslon Pro
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8. Bilateral System
- Fonts Used: Adobe Caslon Pro
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| Fig. 2.1.17 - Bilateral System Final Layout [week 2 - 30/04/2025] |
(I added a grey border to have a clearer view)
More Attempts
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| Fig. 2.1.18 - Typographic Systems More Layouts [week 2 - 30/04/2025] |
Final Compilation of Task 1-Exercises 1-Typographic System
Fig. 2.1.19 - 8 Typographic Systems - PDF without grid [week 2 -
30/04/2025]
Fig. 2.1.20 - 8 Typographic Systems - PDF with grid [week 2 -
30/04/2025]
- Exercise 2 - Type & Play Part 1 / Finding Type -
Finding an image
For this exercise, we were asked to extract letterforms from an image.
I chose to take a photo in front of Taylor’s College Block E, the rock
wall beside the driveway. I think the rock wall's texture and shapes
have potential, and it would be fun to try extracting letterforms from
it.
First Attempt
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| Fig. 2.2.1 - Chosen Image [week 2 - 02/05/2025] |
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| Fig. 2.2.2 - First Attempt [week 2 - 04/05/2025] |
My feedback from Mr. Vinod on the first attempt is that overall my work is okay, but I need to improve the line quality. I may keep the jagged texture from the original extraction, but I must ensure consistency in each stroke, especially by maintaining a consistent thickness within all the letters.
Refinement & Progress
1. Extraction
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| Fig. 2.2.3 - Letter Extraction [week 2 - 03/05/2025] |
- I first outlined the potential letterforms from the image using my iPad and found letters Y, C, O, V, D, L, K, A, H, P, and R.
- I chose the word "ROCKY" because it fits well with the image, a rock wall.
- I then used the Pen Tool in Adobe Illustrator to trace and refine the selected letters for a cleaner result.
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| Fig. 2.2.4 - Final Letter Extraction [week 2 - 03/05/2025] |
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| Fig. 2.2.5 - Reference Font [week 3 - 07/05/2025] |
- Then I started looking for a reference font, and I chose Source Code Variable Bold. Its stroke weight can help me set a better standard for my extracted letterforms, and its clean structure makes it easier to follow and refine my designs.
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Fig. 2.2.6 - Before and After font reference [week 3 -
09/05/2025] |
- When referring to the reference font, I focused on the stroke weight and consistency to guide my letterform design, while still maintaining the jagged texture from the original rock wall image.
3. Progress
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- First, I dragged out the guidelines and placed them based on the reference font to help with font structure before adjusting my letters.
- Then, I used the Direct Selection Tool and Pen Tool to fine-tune each of the letterforms.
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| Fig. 2.2.8 - Refining Process [week 3 - 10/05/2025] |
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Fig. 2.2.9 - Original extraction (top), Reference font
(middle), and final letterform (bottom) comparison (baseline)
[week 3 - 10/05/2025] |
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| Fig. 2.2.10 - Final Outcome (Template) [week 3 - 10/05/2025] |
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| Fig. 2.2.11 - Final Letterforms [week 3 - 10/05/2025] |
Fig. 2.2.12 - Final Compilation of Type & Play Part 1 / Finding
Type - PDF [week 3 - 10/05/2025]
- Exercise 2 - Type & Play Part 2 / Poster -
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| Fig. 2.3.1 - Inspiration Reference Images [week 3 - 11/05/2025] |
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| Fig. 2.3.2 - First Attempt Design [week 3 - 11/05/2025] |
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| Fig. 2.3.2 - Title Progress [week 4 - 15/05/2025] |
- I used the Clipping Mask tool to apply a rock-like pattern to my title text.
- Then, I duplicated the title text and changed its color to black.
- I placed the black version underneath the original to create a shadow effect.
- I added a Diffuse Glow effect to enhance the overall visual impact of the title.
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| Fig. 2.3.4 - Logo elements progress [week 4 - 15/05/2025] |
- First, downloaded the clear version of the logos online
- Used the Image Trace tool, then expanded it to convert the image into a vector.
- I changed the logo color to white to match the overall design.
- Finally, I placed all the logos neatly at the bottom of the poster.
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| Fig. 2.3.5 - Final Refinement [week 4 - 15/05/2025] |
- I typed in the necessary text information, such as the description and credits.
- Then, I adjusted the layout to make sure all elements stayed within the margins and maintained a clean, balanced composition.
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| Fig. 2.3.6 - More layout explorations [week 4 - 15/05/2025] |
- I explored different layout options for my design and decided to go with the last one, as I felt it had a better composition and looked more like a real movie poster.
Final Outcome of Type & Play Part 2 / Poster
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| Fig. 2.3.7 - Final outcome of Type & Play Part 2 / Poster ROCKY [week 4 - 15/05/2025] |
(I added a grey border to have a clearer view)
Fig. 2.3.8 - Final Compilation of Type & Play Part 2 /
Poster ROCKY - PDF [week 4 -
15/05/2025]
FEEDBACK
- WEEK 1 -
General Feedback :
General Feedback :
In the first week of class, Mr. Vinod introduced the Module
Information Booklet and explained the overall goals for the
module. He also walked us through the upcoming tasks and
assessments. Before the next class, we need to complete the
requirements listed in the Teams post.
Specific Feedback :
No specific feedback this week.
Specific Feedback :
- WEEK 2 -
General Feedback :
General Feedback :
This week, Mr. Vinod reviewed each of our works and provided
specific feedback. He said that we should not only reflect on our
own feedback but also learn from the comments he gave to other
classmates. After the feedback session, Mr. Vinod introduced
Exercise 2, which must be completed before Week 3. Before we
started, do check the link that he provided in Teams.
Specific Feedback :
Overall, my 8 system design compositions are acceptable. However,
the modular system needs to be refined and improved, the modular
system is not presented strongly enough.
Specific Feedback :
- WEEK 3 -
General Feedback :
General Feedback :
Mr. Vinod reviewed each of our works and provided specific
feedback. After the feedback session, we started working on the
poster design. For the feedback sheets, do not delete the red
reminder texts, add the word "Updated" before instead. Make sure
to keep the feedback sheet up-to-date to avoid mark deductions.
Specific Feedback :
Overall, my work is okay, but I need to improve my understanding of
the line quality. I may keep the jagged texture from the original
extraction, but I must ensure consistency in each stroke, especially
by maintaining a consistent thickness within all the letters.
Specific Feedback :
- WEEK 4 -
General Feedback :
Mr. Vinod provided individual feedback to each of us on our posters.
After that, he let us have a feedback session, reflecting on our
experience over the past few weeks. He also introduced Task 2 and
set the due date for Task 1 to 20 May, so we must complete all work
and update our blogs before then.General Feedback :
Specific Feedback :
Mr. Vinod mentioned that I need to change the placement of the
title, it should be placed horizontally across the poster. He also
reminded me to add margins before starting the design to ensure that
all elements stay within the layout and don’t get cut off. For the
description text, I need to change the colour to make sure the text
is visible on all devices.
REFLECTION
Experiences
At first, I had only a blur idea about what typography system is. But
through the practice in Exercise 1, I gained a deeper understanding of how
to apply it in real design work. I experimented with different layouts and
found the process actually enjoyable and calming. It cleans my mind when I
was working on it. This task also helped me pick up the skills in using
InDesign, which I hadn’t used for a while. Exercise 2 was also very
interesting, as I extracted the letterforms from my own photographs.
Although the process was a bit challenging, I found it meaningful.
Observation
While working on the exercises, I noticed that many of my classmates
were bold and creative in exploring different design layouts. In
Exercise 2, some of them selected unusual photos that stood out. And I
realized I was "playing safe" with my choices because of my fear of
making mistakes. This made me reflect on how my hesitation might have
limited some creative possibilities and learning opportunities.
Findings
Throughout this project, I found that even very small changes in
typography can have a big impact on the overall visual effect. And it’s
important to explore different variations to find the most effective
solution. I also realized that the random system was particularly
difficult for me to work with because I personally prefer order and
structure, so it challenged me to think differently. In Exercise 2, I
discovered how many hidden design possibilities exist in our daily life,
every object can actually become an interesting inspiration.
FURTHER READING
To improve my work on the typography system exercise, I decided to
read Typographic Systems by Kimberly Elam.
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| Fig. 3.1.1 - Typographic Systems by Kimberly Elam [week 1- 27/04/2025] |
Fig. 3.1.2 - Typographic Systems reading notes [week 1-
27/04/2025]
From my reading, the Grid System stands out as the most adaptable and effective for general design. It offers a structured approach while providing clear communication. However, I found that the Grid System and the Modular System are quite similar, which makes me a little confused. To differentiate them, I focus on how the space is divided. The Modular systems break the layout into repeated units or blocks, while grid systems use columns and rows more flexibly, often with different unit sizes.
Personally, my favorite system is the Random System. I like it because of its strong visual impact and the creative possibilities of it. But I also find it is actually the most challenging system to apply. For those people who prefer order and structure, working with the Random System pushes them out of my comfort zone, making it both difficult and exciting
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