Advanced Typography: Task 1 Exercises
04/21/2025 - 05/05/2025 (Week 1- Week 3)
Katherine
Alexandra
Sutanto
/
0373585
Advanced
Typography
/
Creative
Media
/
School
of
Design
Task
1
/
Typographic
Systems
&
Type
&
Play
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Task
4. Feedback
5. Reflection
LECTURES
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Week
1:
Typographic
system
According to Kimberly Elam, There are eight major variations as follows: - Axial
- Radial
- Dilational
- Random
- Grid
- Modular
- Transitional
- Bilateral
In order for Typographical organization to function, communication is crucial to the elements which are known to be complex, as it's additional criteria include hierarchy, order of reading, legibility and contrast. Thus, according to Elam, typographic systems are similar to systems that have a set of rules that are unique in that they provide a sense of purpose that highlights and focuses on decision making.
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Axial
System
All elements are organized to the left or right of a single axis. A single axis is the red line in the following example. Informations are divided into groups and then it is placed in different angles on different sides of the axis.
Fig 1.1 Axial System, Week 1
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Radial System
All elements are extended from a point of focus. All sentences are pointing towards the point of focus which constitutes radial.
Fig 1.2 Radial System, Week 1
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Dilational
system
All elements expand from a central point in a circular manner. It's possible to have multiple rings of circles with information on either side or in line with the circles. Usually the lesser important information is in the outer range of the circle.
Fig 1.3 Dilational System, Week 1
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Random
System
Elements appear to have no specific pattern or relationship.
Fig 1.4 Random System, Week 1
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Grid
System
A system of vertical and horizontal divisions. The system is known to be one of the most common systems to use.
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Fig 1.5 Grid System, Week 1
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Transitional
System
An informal system of layered appeals. Appeal means segregating information within certain bands, such as headlines will remain within the larger space in one band and the rest of the texts would also be organized within one band per sentence.
Fig 1.6 Transitional System, Week 1
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Modular
System
A series of non-objective elements that are constructed as standard units. Units are referred to as the little red squared in the following example, each square has to be of the same size. Modular is known to allow movement with each individual unit to different portions of the page.
Fig 1.7 Modular System, Week 1
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Bilateral
System
All text is arranged symmetrically on a single axis. This system tends to be used commonly on invitation cards or other formal invites.
Fig 1.8 Bilateral System, Week 1
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Here are the following working
examples of each system:
Fig 1.9 Work Examples, Week 1
- Week 2: Typographic Composition
PRINCIPLES OF DESIGN AND COMPOSITIONKey principles shaping design composition include: symmetry, asymmetry, isolation, repetition, emphasis, alignment, and perspective. These principles were primarily developed with 2D design in mind.
THE RULE OF THIRDS
A compositional technique commonly used in photography. The frame is divided into three vertical and three horizontal sections, creating a grid. Points of interest are strategically placed at the intersecting lines for visual balance.
TYPOGRAPHIC SYSTEMS
Among the eight typographic systems, the grid system (also known as raster systeme) is the most widely used and practical. It originates from the structured layout of letterpress printing, later refined by the Swiss (Modernist) style of typography. Effective typographic design depends on how hierarchical information is arranged within these grids. Designers often separate body text from visual elements.Over time, a shift occurred from strict order to a more chaotic but exciting style, influenced by Punk culture. Typographic systems such as symmetrical, random, repetitive, dilatational, and radial layouts began to emerge in designers' vocabularies.
ENVIRONMENTAL GRIDInvolves extracting both curved and straight visual lines from existing imagery. These key visual lines are identified and preserved, while the original images may be discarded.
FORM AND MOVEMENT
Involves extracting both curved and straight visual lines from existing imagery. These key visual This system builds upon existing grid structures to create a sense of variation and playfulness. It challenges the rigidity of traditional grids, introducing more dynamic compositions. The layout is conceived as a form of visual storytelling, where page turns simulate a kind of slow-motion animation.
- Week 3: Context & Creativity
Handwriting and the Roots of Typography
Handwriting has long served as the foundation for form, spacing, and typographic conventions. Early mechanically produced type was directly modeled after handwritten forms. The shape and quality of handwritten letters were influenced by the tools and materials used—such as brushes, reed pens, and charcoal sticks.
The Evolution of Writing Systems:
Cuneiform and Ancient Scripts
Cuneiform, considered the earliest form of true writing, emerged around the 34th century B.C.E. and was used until the 1st century C.E. It was created by pressing the blunt end of a reed stylus into soft clay tablets. Originating from pictograms, cuneiform evolved into more abstract wedge-shaped symbols and was written from left to right.
Movable Type and Printing Innovations
Woodblock printing began in China, Korea, and Japan as early as 750 A.D., with the "Diamond Sutra" (868 A.D.) being the oldest known printed book, featuring the world’s first printed illustration. While China experimented with movable type using clay, the complexity of Chinese characters hindered its success. However, Korea achieved a breakthrough in the late 14th century with movable type cast in bronze, long before Gutenberg’s printing advancements in Europe.
Eastern Developments in Writing
With the digital revolution, historical handwriting from the West has been commercialized and globalized. However, colonization has led to the loss of many artistic and cultural traditions in the East. This highlights the importance of reconnecting with our own cultural roots and valuing indigenous scripts.
South Asia
Scholars generally agree that the Brahmi script evolved from Semitic origins, though some believe it has indigenous roots linked to the undeciphered Indus Valley script. Regardless, it's clear that significant cultural exchange influenced its development.
Phoenicia and the Mediterranean Influence
Ancient Phoenicia—modern-day Syria, Lebanon, and Israel—was home to some of the earliest alphabetic systems that influenced writing across the modern world.
Southeast Asian Scripts
The Pallava script, one of the oldest writing systems in Southeast Asia, was foundational for many scripts across the region.
Other significant scripts include:
Pra-Nagari: Used for Sanskrit in India and influenced scripts in Southeast Asia.
Kawi: Indigenous to Java and derived from Nagari, it was used for diplomacy and literature in both Indonesia and the Philippines.
Incung Script: Native to Kerinci in South Sumatra, it’s one of Indonesia's historical scripts.
Jawi: An Arabic-based script introduced with the spread of Islam, it remains culturally significant in Malaysia today, especially in classical literature.
Modern Type Design and Digital Innovation
In today’s digital era, major tech companies like Google have made strides in developing multiscript typefaces. By employing many Asian designers and programmers, they are reviving vernacular scripts through modern technology.
Local Initiatives and Type Design Movements
Muthu Nedumaran (murusu.com): A Malaysian typographer who developed encoding systems for vernacular scripts used in mobile devices.
Huruf: A local design collective focused on preserving and reinterpreting Latin and vernacular lettering traditions found on signage and architecture.
Ek Type and the Indian Type Foundry: Pioneering institutions in the development of modern vernacular typefaces in India.
INSTRUCTIONS
TASK
[EXERCISE 1 - Typographic system]
- All Rippled Up: Punk Influences on Design
- The ABCs of Bauhaus Design Theory
- Russian Constructivism and Graphic Design
Taylor’s University
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Research
As the first step of the assignment, I'd go ahead and research for further references to get the idea of my work, mainly from Pinterest. The references are as follows:
I picked one of the three assigned title "All Ripped Up: Punk Influences on Graphic Design" which is based on a website documentating a band called Sex Pistols. The following picture are showcasing one of their albums "The Clash" which i originally thought of taking the colour palette of it, however i find the colour clashing for the assignment, so i only take the colour orange #D77842.
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Sketches & Process
Here are the following rough sketches the next step:
Fig 3.1.2 Rough Sketches, Week 1
Here are the first few processes of my digitalisation, to start , I'd access through Adobe Illustrator to draw out a few simple graphics to enhance my work:
Fig 3.1.3 Graphics, Week 1
Axial
-Gill Sans Std (Light Italic)
-Futura Md BT (Medium)
Fig 3.1.4 Axial System, Week 1
Radial
-Bodoni MT (Black Italic)
-Futura Md BT (Medium)
Fig 3.1.5 Radial System, Week 1
Dilatational
-Gill Sans Std (Bold Extra Condensed)
-Gill Sans Std (Shadowed)
-Gill Sans Std (Condensed)
Fig 3.1.6 Dilatational System, Week 1
Random
-Bodoni Std (Poster Italic)
-Bodoni MT (Condensed Italic)
-Gill Sans
Std (Condensed)
-Gill Sans Std (Bold Extra Condensed)
Fig 3.1.7 Random System, Week 1
Grid
-Bodoni Std (Poster Italic)
-Bodoni Std (Poster Compressed)
-Gill
Sans Std (Bold Extra Condensed)
-Gill Sans Std (Regular)
Fig 3.1.8 Grid System, Week 1
Modular
-Bodoni Std (Poster Italic)
-Bodoni Std (Poster Compressed)
-Gill
Sans Std (Bold Extra Condensed)
-Gill Sans Std (Regular)
Fig 3.1.9 Modular System, Week 1
Transitional
-Futura Md BT (Medium)
-Gill Sans Std (Regular)
-Gill Sans Std
(Condensed)
-Bodoni Std (Poster Italic)
Fig 3.1.10 Transitional System, Week 1
Bilateral
-Gill Sans Std (Regular)
-Gill Sans Std (Bold Extra Condensed)
-Bodoni
Std (Poster Italic)
-Bodoni Std (Poster Compressed)
Fig 3.1.11 First attempts, Week 1
Fig 3.1.12 Chosen 8 designs for consultation, Week 2
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Week 2 Feedback on each system.
Axial : Graphics are too big and distracting, space between information are to far away.
Fig 3.1.13 Reviewing Axial, Week 2
Radial : Good, no comment.
Dilational : Good, no comment.
Random : Graphics are too distracting, too neat for a random system.
Fig 3.1.14 Reviewing Random, Week 2
Grid : Good, however the paragraph is too big in size.
Transitional : Good, however some additional graphics are not needed.
Modular : Good, no comment.
Bilateral : Good, no comment.
EXERCISE 1 - FINAL OUTCOME
Fig 3.1.15 Axial System JPEG, Week 2
[EXERCISE 2 - Type & Play / Finding Type - Part 1]
- Finding an image
Fig 3.2.1 Selected picture, Week 2 - Extraction
The following image shows the first extraction step, I'd trace and use filter briefly to capture the detail, from the extraction gained, I can identify the word: S, A, C, M, G
Fig 3.2.2 Extraction, Week 2 - Refining process
After extracting, I then slowly shape the extracted elements into the words identified. The reference font i use: Gill Sans Std (Ultra Bold Condensed)
Fig 3.2.3 Refining process, Week 2
FINAL OUTCOME
Fig 3.2.8 Final Letterform (Baseline), Week 3
[EXERCISE 2 - Type & Play / Finding Type - Part 2]
In this exercise, we are assigned to make a design that represents a movie poster using the letterforms we created in the previous part as a closing/final step of this assignment. As the first step, I'd began to search for an image for the poster's background and production logos to interpret the feel of an actual movie poster. The following pictures and elements are as following:
EXERCISE 2 - FINAL OUTCOME
Fig 3.4.5 Final Letterform (Baseline), Week 3
FEEDBACK
Week 1:
General: On the first week, Mr. Vinod briefed about our module and future upcoming assignments. Such as the introduction to our lectures, then instructions to our first practical assignment.
Specific: As we're entering our first week, we are introduced the first assignment, typically the lecture before the practical, i asked Mr. Vinod regarding my blogspot progress on the lecture which he shared his feedback.
Week 2:
General: Mr. Vinod discussed and gave feedbacks towards our first task. He'd go through a plenty of student's work and explains each flaw which also acts as a feedback for the students who didn't get to receive a feedback. After discussing the first task, We're being introduced to a new task which he also briefed.
Specific: My work was submitted through the facebook page specifically for receiving feedbacks and the general understanding of standard of passing the work.
Week 3:
General: In this session, Mr. Vinod are going through a plenty of student's work for feedbacks.
Specific: He commented my work and directly point out the flaws and suggestions as the feedbacks.
Week 4:
General: In this session, Mr. Vinod are prioritizing to share his feedback regarding our task 1 to start the class. After feedback session, he shared a link for students to have a chance to give an opinion or feedbacks regarding our experience of the 4 weeks we've gone through. He also introduced a new task and guide us with explanations of details and requirements to achieve.
Specific: During the feedback session, I'd receive feedbacks on my work and understood that there are flaws in the work. At the next session of survey Mr. Vinod hosted, I'd input a question and a feedback for Mr.Vinod which is mostly a positive remark.
REFLECTION
Experience
Through Exercise 1, I gained valuable insights into the different typographic systems and how to construct each one effectively by both lectures and direct guidance by Mr.Vinod. Moving on to Exercise 2, which focused on type and play, I learned how to analyze the visual characteristics of both natural and manmade images and translate those observations into unique font designs.
Observation
I came to understand that each typographic system has its own distinct qualities. Additionally, I realized that design is highly subjective—what one person sees as a good design may differ entirely from another’s perspective. During Exercise 1, I struggled to choose which designs to include, so I asked for feedback from others, but their preferences varied widely. In Exercise 2, I learned that keen observation is essential for developing a typeface that effectively captures the essence and character of the chosen image.
Findings
I discovered that understanding the requirements and structure behind each typographic system is crucial for creating well-executed and meaningful designs. Moreover, designing a typeface inspired by elements from nature or manmade objects significantly enhances creativity and encourages deeper visual exploration
FURTHER READING
Fig 5.0, Finding Type by Mr. Vinod, Week 3
Engaging in custom type design through a six-step process, such as finding and deconstructing an image, identifying and extracting letterforms, referencing a font, and refining shapes for consistency and clarity. This practical exercise highlights how ordinary visuals can be reimagined into expressive, functional letterforms, emphasizing the connection between imagery, form, and typographic identity.
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