Advanced Typography: Task 1 Exercises

22/04/24 - 13/05/2024 (week 1 - week 4)

Gabriella Grace Christyanti / 0371915
Advanced Typography / Bachelor of Design (Honours) in Creative Media
Task 1 / Exercises

TABLE OF CONTENTS

1. Lectures
2. Instructions
3. Exercise 1: typographic system
4. Exercise 2: type & play
Part 1: Finding Type
Part 2: Poster
5. Feedback
6. Reflection
7. Reading

1. LECTURES

WEEK 1: TYPOGRAPHIC SYSTEM

Mr.Vinod gave us some important tips for writing blogger during the introduction in our first tutorial class:

Read the MIB briefing before and after doing the task. The Module Assignment Briefs have clear instructions on what we'll need to have in our task so it's best to read through the brief first to make sure you're doing it correctly.
No long essays. The things written down in our lectures is just for us to remind ourselves of the things we've learned, so just key in the important information
Make your blogger organized. We need to be empathetic to the person who reads our blogger, put our perspective in their shoes and make sure how we write our blogger is easy for them to understand.
When doing a task, document your research and process. We are graded by our progress and if we don't document properly in our blogger, it's hard to grade. And research is always important to do beforehand so we have a more open mind and get more ideas.
Under every image we post, don't forget "Fig, description, week and date." Failure to do so will cause a DEDUCTION OF POINTS

And he also explained to some information about our submission for this module:

When exporting a file in the 300ppi size, make sure it's below 1024px. To check the file size, we can use photoshop.
When we're done with our first task in week 1, we need to submit our work in facebook. We need to compile all 8 sketches into one JPEG and write down the typographic system we use in the bottom left corner in grey color.
Our final submission will need to have a JPEG of every final art, a JPEG of all of those art combined into one, a PDF with all the final art, and another PDF with all the final art but with the grids.

LECTURE 1

We were given a video to watch explaining the eight typographic system: Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral. He gave us an example of our seniors using the eight typographic system

Fig 1.1 Senior's Final Eight Typographic System, (Week 1, 23/04/2025)

Typographic organization is used for a more eye catching and interesting way of communication between the artist and the viewer. Things to put into consideration when making a typographic system is hierarchy (from weight, color, and size), order of reading, legibility, and contrast.

A short explanation of every Typographic System:

Axial System
All elements are organized to the left or right of one axis, and this axis doesn't need to be straight, it can be bent
Radial System
All elements expand from a central point in a circular fashion. The important parts can be either in the smallest central point or the biggest central point.
Dilatational System
All elements expand from a central point in a circul
Random System
Element appear to have no specific pattern or relationship
Grid System
A system of vertical and horizontal divisions. The layout is structured according to the different grids.
Modular System
A system constructed with units of the same size
Transitional System
An informal system of layered banding
Bilateral System
All text is arranged symmetrically on a single axis

Keyboard Short cuts for InDesign (mac):

Font size = Command + Shift + Greater than
Leading = Option + bottom arrow key
Right lane text = Command + Shift + R

WEEK 2: TYPOGRAPHIC COMPOSITION

In Week 2, Mr.Vinod reminded us about some past rules for typography, like when working with type in handheld documents (like printed pages or small-scale layouts), text should be set in sizes between 8–12 points. For optimal readability, apply leading (line spacing) that is 2.5 to 3 points larger than the text size. (e.g. 9-point font should have around 11.5–12-point leading or 12-point font should have about 14.5–15-point leading). Avoid issues like rivers (large vertical gaps), uneven spacing, or breaks in reading rhythm. These disrupt how the eye flows across the page.

Mr.Vinod also gave us some tips on design structure:

Don't add graphic elements before you finish figuring out how the text will look in the page
Graphical elements should enhance the existing structure, not fix weak layouts.
Make sure every text block aligns to one anchor point. Don’t let blocks float independently.

Sir Vinod emphasized the need to analyze a lot of design work to understand how to play with space effectively. He explained that space is not our enemy but it’s a design tool. Use grids and margins deliberately, and plan the layout around the amount and importance of information.

Keep your audience in mind: The design should guide their eye naturally across the page—from left to right, or if needed, toward the center for balance. Don’t lead the eye off-track or overcrowd the layout in one direction.

Mr Vinod then gave us a brief on our next exercise, this exercise begins with selecting an image that contains usable, varied letterforms.

Avoid images with too much variation (they become difficult to extract)
Avoid repetitive paterns (not enough character diversity)

Trace enough to understand the letterform's characteristics. (If partial tracing allows you to understand the characteristics, that’s enough. But if full tracing is needed to fully understand it, go ahead.)
Be mindful of which details to keep and which to ignore. Your extraction should capture the core characteristics of the original, but result in a consistent, usable font.

Choose a reference font as your base. This helps in creating coherent, readable letterforms.
Don’t copy it exactly, strike a balance between your extracted style and the reference.
Maintain consistency in thickness, height, overall character shape.

If your extracted letterforms lack some of the original’s characteristics, introduce them into letters that need it. Your final letterforms don’t need to look identical to the original image, but the essence should remain visible. All tracing and refinements should be done using Adobe Illustrator.

LECTURE 2

Typographic Composition
Arrangement of text in a visual space using letters, numbers, and symbols.
Goal: clarity, hierarchy, and visual interest.
Principles of Design Composition
Emphasis: Highlights key elements.
Isolation: Separates elements to create focus.
Repetition: Reinforces visual consistency.
Symmetry/Asymmetry: Symmetry = balance; Asymmetry = dynamism.
Alignment: Guides reading and structure.
Perspective: Adds depth; less typical in type.
Rule of Thirds
3x3 grid to place visual points of interest.
Widely used in layout and photography.
Typographic Systems (8 Total)
Grid System: Most common, structured, rooted in letterpress. Swiss modernist influence.
Postmodern Systems: Introduce chaos, randomness, asymmetry while retaining legibility.
Systems include radial, dilatational, random, etc.
Other Models
Environmental Grid: Derived from real-world structures (e.g. buildings, art).
Form & Movement: Dynamic layouts from static grids; introduces visual flow across pages.

Fig 1.2 Composition and Systems, (Week 2, 03/05/2025)

WEEK 3: CONTEXT & CREATIVITY

This exercise is about observing and extracting the core visual traits of an object—not copying every detail. Focus on the overall texture or structure. For example, coral has wiggly lines, fungi branch out, wings show hexagon patterns, and noodles have smooth, consistent waves. Avoid unnecessary roughness or detail.

Choose one key element from your reference and translate that texture into your letterforms. Be consistent with stroke style and thickness. If the form is repetitive or mechanical, study it once and repeat it precisely.

Use Object > Path > Outline Stroke, then merge shapes to build your letters. Always show where your letters came from—not just the final result. The goal is to sharpen how you see and simplify what you observe into clear design decisions.

LECTURE 3

Handwriting and Its Influence on Typography
Early mechanically produced letterforms were designed to imitate handwriting.
Hand-drawn letterforms were shaped by tools like bones, charcoal sticks, brushes, and pens.
Handwriting laid the foundation for form, spacing, and conventions in typography.

Evolution of Writing Systems (Latin Alphabet and Western Development)
Phoenician script: First phonetic alphabet based on sounds, not images.
Cuneiform (c. 3000 B.C.E.): Wedge-shaped marks from stylus in clay.
Hieroglyphics: Used phonograms, ideograms, and determinatives.
Greek alphabet (5th C. B.C.E.): Added vowels, no serifs, read in boustrophedon style.
Roman Uncials (4th C.): Rounded forms, fewer strokes, faster writing.
Carolingian Minuscule (8th–9th C.): Introduced punctuation, capital letters, and spaces; influenced Renaissance humanist script.
Blackletter (12–15 C.): Dense, decorative Gothic script of the Middle Ages.
Renaissance "Antica": Revival of Carolingian script by Italian humanists.
Movable Type: Developed in Asia (China, Korea), enabling mass printing.

Fig 1.3 Evolution of Latin Alphabet (Week 3, 06/05/2025)

Eastern & Global Developments
Middle East
Alphabet evolved from Phoenician to Arabic.
Shared influences between neighboring writing systems.

South Asia
Indus Valley Civilization (c. 3500–2000 B.C.E.): Oldest Indian subcontinent writing.
Brahmi script (450–350 B.C.E.): Origin of modern Indian and Southeast Asian scripts.
Brahmi possibly evolved from IVC or Semitic scripts.

Southeast Asia
Kawi script: Derived from Brahmi; used in Java, Indonesia, and the Philippines for literature and diplomacy.
Jawi script: Arabic-based, used in Malay literature.

Fig 1.3 Eastern Developments in handwritten (Week 3, 06/05/2025)

Modern Type Design & Vernacular Scripts
Digital tools (e.g., Google fonts) support multiscript typefaces combining Roman and vernacular letters.
Muthu Nedumaran: Developed encoding systems for vernacular writing on digital platforms.
Key Takeaway for Designers
Study and value your own cultural and script heritage.
Creativity is enriched by observing surroundings, history, and traditions.

WEEK 4: DESIGNING TYPE

Why Design New Typefaces?

Social responsibility: Improves legibility and solves communication issues (e.g., signage, screens).
Artistic expression: Reflects creative identity.
Practical need: Each design addresses a specific functional or technological challenge.

Notable Typeface Designers & Works: Adrian Frutiger – Frutiger

Designed in 1968 for Charles de Gaulle Airport.
Clean, highly legible sans serif, readable from a distance and in poor lighting.
Used for signage; clear even when moving quickly.

Matthew Carter

Verdana:
- Made for Microsoft, optimized for screen use at small sizes.
- Design based on pixel shapes, not handwriting tools → confusing letters like i, j, l.
- IKEA switched to Verdana and was criticized for reducing brand identity.
Bell Centennial:
- Made in 1976 for AT&T telephone directories.
- Used ink traps to prevent ink spread on cheap paper and improve legibility.
- An upgrade of Bell Gothic.

Edward Johnston – Johnston Sans

Created for London Underground in 1916.
Combined Roman proportions with humanist warmth.
Designed to unify signage across the underground system.
Influenced the later Gill Sans.

Process of Designing a Typeface

1. Research

Study type history, anatomy, and conventions.
Know terms like side bearing, metrics, hinting.
Understand where and how the typeface will be used.
Look at existing fonts for ideas and context.

2. Sketching

Manual tools (pen/brush) allow expressive control; slower but precise.
Digital tools (Wacom/software) are faster and consistent but limit natural movement.

3. Digitization

Use tools like Fontlab, Glyphs, Adobe Illustrator.
Focus on readability and balanced forms and counterforms.

4. Testing

Involves refining and prototyping.
Check legibility and readability, especially for text fonts.

5. Deploy

Real-world use may reveal issues.
Thorough testing minimizes post-release problems.

Typeface Construction

Roman Capital Grid

Built on a square with a circle and central rectangle (3/4 of the square).
Helps guide consistent letterform design.

Letterform Grouping

Letters grouped by shape and structure (e.g., round, rectangular, diagonal).
Separated into capitals and lowercase.

Visual Corrections

Curved forms extend slightly past baselines/cap lines.
Spacing ("fitting") adjusted for uniform visual whitespace.

2. INSTRUCTIONS

3. EXERCISE 1

Typographic Systems Poster Project

We were tasked to design eight posters (200mm x 200mm) using the eight typographic systems: Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral. Posters must be created in Adobe InDesign, using black and one additional color, with minimal graphical elements like lines or dots.

Brief:

One poster for each system.
Only InDesign allowed.
Size: 200mm x 200mm.
Colors: Black + 1 other color.
Limited graphic elements.

Content: Choose one headline:

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

Process:

Research: I chose All Ripped Up: Punk Influences on Design. After researching punk aesthetics on Pinterest, I picked magenta as the second color and selected Futura Std Bold for its strong, fitting look.

Sketch: Afterward, I created rough sketches of the eight systems in Procreate. I selected my two favorite versions for each system and recreated them in InDesign, refining and adjusting the designs to improve their overall look.

Fig 2.1 research, moodboard, and sketches (week 1, 23/4/2025)

Attempts: After finalizing my sketches, I selected two versions for each system to have a backup in case the first option didn’t work out. Getting used to InDesign was challenging at first; I had to watch several YouTube tutorials and ask friends for help. Over time, I was able to navigate the software more confidently. One of my biggest challenges was making the designs visually interesting while keeping graphic elements minimal. However, the more research I did for each system, the more ideas I developed for enhancing the layouts creatively. Below are screenshots comparing my initial attempts for the Axial system with the final version.

Fig 2.2 Axial before and after comparison (week 1, 25/4/2025)

Below are compiled variants of fonts for each systems :

Fig 2.3 compilation of all system variants (week 1, 25/4/2025)

Axial

& 2. Futura Std (Medium, Heavy, Bold, Extra Bold), Gill Sans Std (Regular, Bold)

The Axial design went through the biggest revision. Since it was the first system I designed, I later revisited it after completing the others and realized it looked too empty and plain by comparison. One of the biggest challenges I faced was creating the guides — especially diagonal ones. I couldn’t find any tutorials on YouTube, so I improvised by manually creating guides using lines.

Radial

& 2. Futura Std (Medium, Heavy, Bold, Extra Bold Oblique), Gill Sans Std (Regular, Bold)

The biggest challenge in designing the Radial poster was coming up with a unique concept that hadn’t been overused. Initially, the digital version of the first one looked too empty. To fix this without adding too many elements, I made the background black and experimented with the color palette to create more visual interest.

Dilatational

Futura Std (Medium, Heavy, Bold, Extra Bold), Gill Sans Std (Regular, Bold)
Futura Std (Medium, Heavy, Bold, Extra Bold Oblique), Gill Sans Std (Regular, Bold)

I had the most fun working on the Dilatational system. It was a bit confusing at first to get the text to face the right direction, but once I figured out how to flip and adjust it, I began experimenting with layout to achieve clear hierarchy and an easy reading flow.

Random

Bodoni Std (Roman, Bold, Poster Italic, Bold Italic), Gill Sans Std (Light, Light Italic, Condensed, SemiBold Italic, Bold, Bold Condensed, Bold Extra Condensed, Ultra Bold, Shadowed), Futura Std (Medium, Bold, Extra Bold Oblique), Serifa Std (56 Italic), ITC Garamond Std (Ultra Italic), Univers LT Std (85 Extra Black Oblique), ITC Garamond Std (Book)
Gill Sans (Semi Bold, Ultra Bold), Univers LT Std (93 Extra Black Extended, 67 Bold Condensed Oblique), Futura Std (Medium, Heavy, Bold, Extra Bold Oblique), ITC Garamond Std (Ultra Condensed Italic), Serifa Std (65 Bold, 75 Black)

The Random system design took the longest to complete. I used multiple fonts to make it visually engaging, while still trying to maintain readability. I'm not entirely satisfied with the reading flow in the second version. Also, the first attempt ended up looking more like a scrapbook than a punk aesthetic, which wasn’t my original intention — but I don’t mind it too much, as it still turned out visually appealing.

Grid

Futura Std (Medium, Heavy, Bold, Extra Bold), Gill Sans Std (Regular, Bold), Univers LT Std (93 Extra Black Extended)
Futura Std (Medium, Heavy, Bold), Gill Sans Std (Regular, Bold), Janson Text LT Std (56 Italic)

Modular

& 2. Futura Std (Medium, Heavy, Bold), Gill Sans Std (Regular, Bold), Janson Text LT Std (56 Italic)

Transitional

& 2. Futura Std (Medium Bold, Bold, Heavy, Extra Bold Oblique), Gill Sans Std (Regular, SemiBold, Bold)

Bilateral

& 2. Futura Std (Medium, Heavy, Bold), Gill Sans Std (Regular, Bold), Janson Text LT Std (56 Italic)

FINAL OUTCOME

Fig 3.1 Axial System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.2 Radial System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.3 Dilatational System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.4 Random System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.5 Grid System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.6 Transitional System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.7 Modular System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.8 Bilateral System Final Outcome JPEG (week 1, 28/04/2025)

Fig 3.9 Final Outcome Compilation JPEG (week 1, 28/04/2025)

Fig 3.10 Final Outcome PDF (week 1, 28/04/2025)

Fig 3.11 Final Outcome PDF with Grids (week 1, 28/04/2025)

4. EXERCISE 2

Type and Play Part 1 / Finding Type

We were told to extract and design custom letterforms from a selected image of a man-made object, structure, or natural form. The exercise encourages observation, abstraction, and typographic creativity by translating visual elements into a typeface inspired by the chosen subject.

Finding an Image (I ended up choosing the 3rd one as the image I use)

Fig 4.1 animal intestines (Week 2, 03/05/2025)

Tracing and Deconstructing Image (first image Fig 4.2)
Identifying Letterforms

Extracting Letter form

Fig 4.2 Deconstructing Image and Extracting Letter forms (Week 2, 03/05/2025)

Identify a Reference Typeface
Refining Letterforms
I deleted the E in the process because I couldn't find a way to make it look nice without sacrificing the consistency.

Fig 4.3 Refining Progress (Week 2, 03/05/2025)

(I made a back up just in case Sir Vinod think my original letterform is too gory but thankfully he already approves the original)

Fig 5.14 Plan B letterform (Week 2, 03/05/2025)

Final Outcome of Part 1

Fig 5.1 Image and Extraction (Week 2, 03/05/2025)

Fig 5.2 Overall Process (Week 2, 03/05/2025)

Fig 5.3 Extracted letterforms (baseline) (Week 2, 03/05/2025)

Fig 5.4 Reference font (Week 2, 03/05/2025)

Fig 5.5 Final Letterform (Week 2, 03/05/2025)

Fig 5.6 Original extraction (top) and final letterform (bottom) comparison (Week 2, 03/05/2025)

Fig 5.7 Refined Letter "V" - Final (Week 2, 03/05/2025)

Fig 5.8 Refined Letter "I" - Final (Week 2, 03/05/2025)

Fig 5.9 Refined Letter "S" - Final (Week 2, 03/05/2025)

Fig 5.10 Refined Letter "C" - Final (Week 2, 03/05/2025)

Fig 5.11 Refined Letter "R" - Final (Week 2, 03/05/2025)

Fig 5.12 Refined Letter "A" - Final (Week 2, 03/05/2025)

Fig 5.13 PDF of Final Letters (Week 2, 03/05/2025)

Type & Play Part 2 / Poster

In Part 2 of the exercise, Mr. Vinod asked us to create a movie poster using our type designs. Since my letterforms were derived from a photo of intestines, I explored similar imagery and collected several animal intestines photos. I also gained some ideas on my poster from looking at the senior's examples provided by Mr.Vinod.

Fig 6.1 Collected images (Week 2, 06/05/2025)

Before putting the title onto the image, I used Adobe Photoshop edit the image's colors. First I made it black and white and adjusted the lighting with curve tool. And then I layered with with some red colors to give it the horror feel

Fig 6.2 Adjustment process on Adobe Photoshop (Week 2, 06/05/2025)

Final Poster

Fig 6.3 Final Poster (Week 2, 06/05/2025)

Fig 6.4 PDF of Final Poster (Week 2, 06/05/2025)

EXERCISE 2 / FINAL COMPILATION

Fig 7.1 Image and Extraction (Week 2, 03/05/2025)

Fig 7.2 Overall Process (Week 2, 03/05/2025)

Fig 7.3 Extracted letterforms (baseline) (Week 2, 03/05/2025)

Fig 7.4 Reference font (Week 2, 03/05/2025)

Fig 7.5 Final Letterform (Week 2, 03/05/2025)

Fig 7.6 Original extraction (top) and final letterform (bottom) comparison (Week 2, 03/05/2025)

Fig 7.7 Refined Letter "V" - Final (Week 2, 03/05/2025)

Fig 7.8 Refined Letter "I" - Final (Week 2, 03/05/2025)

Fig 7.9 Refined Letter "S" - Final (Week 2, 03/05/2025)

Fig 7.10 Refined Letter "C" - Final (Week 2, 03/05/2025)

Fig 7.11 Refined Letter "R" - Final (Week 2, 03/05/2025)

Fig 7.12 Refined Letter "A" - Final (Week 2, 03/05/2025)

Fig 7.13 PDF of Final Letters (Week 2, 03/05/2025)

Fig 7.14 Final Poster (Week 2, 06/05/2025)

Fig 7.15 PDF of Final Poster (Week 2, 06/05/2025)

5. FEEDBACK

Week 1

General Feedback: We started creating our blogger for advanced Typography, Mr. Vinod shared key tips for writing our blogger. And he also explains what are the requirement for the submissions next week.

Week 2

General Feedback: In today’s lecture, Mr. Vinod gave us feedback on our homework and explained us about the importance of clear typography and layout.

Specific Feedback: Mr.Vinod told me to not make the elements overpower or distract the main information. He also pointed out the systems I got wrong and the systems I need to change like the axial and transitional system

Week 3

General Feedback : Today Mr.Vinod gave us feedback for our letterform progress, we were told to focus on learning observation through visual dissection, extract the core characteristics of an object, not its minor or overly detailed features.

Specific Feedback: Mr.Vinod said that my letterform is already good and I can continue

Week 4

General Feedback: Mr Vinod gave us feedback on our posters. Some important points he said was that red on black isn't very visible, especially when using small fonts, so it's better to choose a color that's least used in the image to highlight and bring out the more repressed tones. Additionally, adjusting the translucency and editing the overall composition can help give the image the dramatic and polished feel of a movie poster.

Specific Feedback: Mr. Vinod mentioned that the font stands out too much, making the background feel unnecessary. He suggested creating a more balanced composition by adjusting the contrast, improving the brightness, and adding a subtle layer of red

6. REFLECTIONS

Experience

Working on the typographic system exercises was both challenging and rewarding. I explored various design systems, referencing resources like Pinterest, and spent significant time sketching and digitizing in paper and in Procreate. Despite the workload, I think I've managed my time well, collaborated with peers, and enjoyed the creative process, especially experimenting with layout, rotation, and structure in InDesign. Making the typeface was also a challenging experience but I felt like I've managed it quite well from previous experience from the first semester typography.

Observations

Each typographic system has its own distinct characteristics, and design preference is highly subjective, opinions on what looks best varied greatly among peers. Group discussions helped me view designs from different perspectives, and I noticed how creative ideas evolve during the process, often improving through feedback and trial.

Findings

These exercises helped me better understand the mechanics of typographic systems and improved my technical skills in InDesign and Illustrator. I learned that good design balances creativity with structure, and that visual ideas often need testing and refining before they work effectively on screen.

7. FURTHER READING

Fig 8.1 Typographic System by Kimberly Elam (2007), (Week 1, 23/04/2025)

In Week 1, I studied Kimberly Elam’s Typographic Systems, which outlines eight key systems (axial, radial, grid, modular, bilateral, dilatational, transitional, and random) and emphasizes how understanding visual organization enhances design clarity. The book discusses how constraints like type size, weight, line breaks, and spacing (leading, kerning, tracking) can be used strategically to guide the reader’s eye and organize content. She also highlights the importance of non-objective elements (like circles and lines) to improve hierarchy, balance, and visual emphasis.

Fig 8.2 Finding Type: A Novel Typographic Exercise by Vinod Nair (2023), (Week 2, 03/05/2025)

In Week 2, we were told by Mr. Vinod to we explore custom type design through a six-step process: finding and deconstructing an image, identifying and extracting letterforms, referencing a font, and refining shapes for consistency and clarity. This hands-on exercise demonstrated how everyday visuals can be transformed into functional, expressive letterforms, reinforcing the relationship between image, form, and typographic identity.

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