Advanced Typography: Task 1 Exercises
21.04.2025 — 21.05.2025 / Week 1 — Week 5
Chan Zhi-Ren Zenndan / 0369069
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's UniversityExercises: Typographic Systems and Type & Play
Table of Contents
1. Lectures
1.1 AdTypo_1_Typographic Systems
"All design is based on a structural system."
There are eight major variations with an infinite number of permutations:
- Axial
- Radial
- Dilatational
- Random
- Grid
- Modular
- Transitional
- Bilateral
Typographical organisation is complex because the elements are dependent on communication in order to function. Additional criteria include: hierarchy, order of reading, legibility, contrast, etc.
Typographic systems are akin to what architects term shape grammars. They are similar in that the systems have a set of unique rules and provide a sense of purpose that focuses and directs the decision making.
Fig 1.2.1 shows an example of each of the 8 typographic systems applied to posters.
Fig 1.2.1 Examples of the 8 typographic systems (21/04/2025).
1.2 AdTypo_2_Typographic Composition
Dominant principles supporting design composition include:
- Emphasis
- Isolation
- Repetition
- Symmetry & asymmetry
- Alignment
- Perspective
These abstract ideas/notions seem ambiguous and trying to apply them into real-life content (images, textual information and colour) on a page or screen can sometimes feel contrasting.
Environmental Grid —
A system based on the exploration of an existing structure or numerous structures combined.
Form & Movement —
A system based on the exploration of an existing grid system; exploring the multitude of options the grid has to offer, and to dispel the seriousness surrounding the application of the grid system.
As shown in Fig 1.2.1, a boring grid system can be avoided by replacing the black shapes with visuals.
Fig 1.2.1 Typographic Compositions (3/05/2025).
1.3 AdTypo_3_Context&Creativity
Handwriting is important in the study of type/typography because they would become the basis or standard for form, spacing, and conventions mechanical type would try and mimic. The first mechanically produced letterforms were designed to directly imitate handwriting.
Document 1.3.1 Week 3 Lecture Notes (06/05/2025).
AdTypo_4_Designing Type
Why design another typeface? Type design —
- Carries a social responsibility so one must continue to improve its legibility
- Is a form of artistic expression
- Clean
- Distinctive
- Legible
The purpose of Matthew Carter's "Verdana" sans serif typeface (for Microsoft) was to —
- Address specific technical challenges posed by early computers
- Extremely legible at very small sizes on screen
Fig 1.3.1 Typeface designed using pixels (17/05/2025).
Matthew Carter also addressed the blurriness of the font in print during the time, creating "Bell Centennial," a typeface using ink traps, which are basically strange cutouts to the bowl of a letter which fixes the blurriness the print originally had.
Fig 1.3.2 "Bell Centennial" by Matthew Carter (17/05/2025).
The purpose of Edward Johnson's "Johnston Sans" was for London's Underground railway —
- Posters
- Signage
Fig 1.3.3 "Johnston Sans" underground typeface (17/05/2025).
General process of type design:
- Research
- Sketch
- Digitization
- Testing
- Deploy
Research
We should first understand type history, anatomy, and conventions. We should also know terminologies such as side-bearing, metrics, hinting, etc.
The purpose of the type design must be laid out from the get-go. Ask questions like —
- What is this going to be used for?
- For what application? School busses? Airport signages?
Look at existing fonts that are presently being used for —
- Inspiration
- Ideas
- Reference
- Context
- Usage patterns
Sketching
Some use the traditional toolset —
- Brushes
- Pens
- Ink and paper
then scan them for the purpose of digitization. They are more confident with their hands and have better control using it.
Some use the digital toolset —
- Wacom
which allows for direct transition into a font design software but can sometimes impede the natural movement of hand strokes.
Both methods have their positives and negatives.
Digitization
Professional software for digitization of typefaces includes —
- FontLab
- Glyphs App
Some use Adobe Illustrator to design the letterforms, then introduce them into the specialized font apps.
Testing
Testing is important in the design thinking process. Results of testing are part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing process and leads to important feedback.
Readability and legibility of the typeface becomes an important consideration. However, it is not crucial if the typeface is a display type, where expression of the form takes a little more precedence.
Deploy
Even after deploying, there will still be problems that did not come to the fore during the prototyping and testing phases.
The rigour of the testing is important in so that the teething issue remains minor.
Typeface Construction
Roman Capital: The grid consists of a square, and inside it a circle that touches the lines of the square in four places. Within the square is also a rectangle. This rectangle is 3 quarters the size of the square and is positioned in the centre of the square.
Fig 1.3.4 Construction grid for the Roman Capital using 8x8 cells (17/05/2025).
2. Instructions
Document 2.0.1 Module Information Booklet (21/04/2025).
2.1 Exercise 1: Typographic System
The 8 systems mentioned are to be explored using the following content:
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-12PM
June 25, 2021
Lim Whay Yin, 9AM-10AM
Fahmi Reza, 10AM-11AM
Manish Acharia, 11AM-12PM
Lecture Theatre 12
I chose The ABCs of Bauhaus Design Theory as my choice for designing.
Research
Most of the research was conducted by reading the book provided to us by Mr. Vinod. It explains all eight typographic systems in detail and provides examples of how each system is used. Fig 2.1.1 shows the references for each system that inspired me.
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Fig 2.1.1 References from Kimberly Elam's "Typographic Systems" (26/04/2025).
Process Work
I started by working on the axial system. Following the tutorial provided by Mr. Vinod, I set my document to have three columns and four rows of guides. This allowed me to establish an axis to work on.
Fig 2.1.2 Axial system in process (27/04/2025).
After that, I moved on to the radial system. I tilted each text box in increments of 10°, then checked to ensure they extended evenly from a central point.
Fig 2.1.3 Radial system in process (27/04/2025).
The random system was interesting to explore. I experimented with the kerning and positioning of the text to create a messy, clumped-together appearance.
Fig 2.1.5 Random system in process (27/04/2025).
I began exploring how using all lowercase letters would affect the text. In the grid system, I kept the layout orderly and avoided too much experimentation, as I wanted the design to remain clean and not overly messy.
Fig 2.1.6 Grid system in process (27/04/2025).
As for the transitional system, I wanted to create movement as if the text is sliding downwards. I first tried the 'wavy' method but I personally didn't like how it looked. So I kept with the original reference.
Fig 2.1.8 Modular system in process (28/04/2025).
For the bilateral system, I focused on maintaining symmetry along a single axis, avoiding unnecessary complexity.
Fig 2.1.9 Bilateral system in process (30/04/2025).
After Feedback (30/04/2025)
To not bring distractions into my Random system, I adjusted the elements to be more clumped up at the bottom of the composition.
Fig 2.1.10 Random system adjustment (05/05/2025).
To bring greater emphasis to my Grid system, I had the keyword of the title be capitalized along with a heavier font.
Fig 2.1.11 Grid system adjustment (05/05/2025).
For my Transitional system, I removed the 'slope' visual element, as it carried too much of a distraction.
To reduce the 'blockiness' of my bilateral system was too blocky, I went back to center align and made sure there was enough leading and overall spacing between the texts.
Final Submission for Exercise 1
Fig 2.1.14 Final Axial System — JPEG format (06/05/2025).
Fig 2.1.15 Final Radial System — JPEG format (06/05/2025).
Fig 2.1.16 Final Dilatational System — JPEG format (06/05/2025).
Fig 2.1.17 Final Random System — JPEG format (06/05/2025).
Fig 2.1.18 Final Grid System — JPEG format (06/05/2025).
Fig 2.1.19 Final Transitional System — JPEG format (06/05/2025).
Fig 2.1.20 Final Modular System — JPEG format (06/05/2025).
Document 2.1.1 Final Typographic Systems without grid — PDF format (06/05/2025).
Document 2.1.2 Final Typographic Systems with grid — PDF format (06/05/2025).
2.2 Exercise 2: Type & Play Part 1
Exercise 2 requires us to select an image of a man-made object, or structures, or something from nature to dissect and identify potential letterforms within the image.
Figure 2.2.1 shows a failed attempt at the exercise due to the image being a painting, which I hadn’t noticed. The progress from this attempt has been erased, as it was ultimately futile.
Fig 2.2.1 Failed attempt at the exercise (07/05/2025).
Research
It was a challenge to select images since I try to get a read of the image before selecting anything. And I didn't want to risk having another failed attempt. So, I looked at what other students were presenting in class so I could get an idea for my next attempt.
Some students were fascinated by repetitive patterns, like the ones in cobwebs or corals. With that in mind, I started looking at different elements in nature and eventually landed on butterflies. From there, I narrowed it down to dragonflies, which is when I came across learning about wing venation patterns.
After browsing for a while, I decided to use this image of a dragonfly to extract from.
Fig 2.2.3 Chosen image to dissect (10/05/2025).
Process Work
Fig 2.2.4 shows the extracted letterforms I could find from the image. I made sure that the strokes were consistent with the image.
As per the instructions, we were advised to have a sample font for direction and reference when refining. Fig 2.2.5 shows my reference font to help me adjust the letterforms.
Fig 2.2.5 Font 'Kohinoor Zerone One' as sample font (10/05/2025).
Fig 2.2.7 shows my first attempt at dissection and refinement of the extracted letterforms.
After receiving feedback on Week 4, I refined the R and prepared the letterforms for submission.
Final Submission for Exercise 2 (Part 1)
Fig 2.2.8 Image and Extraction (18/06/2025).
Fig 2.2.9 Overall Process (18/06/2025).
Fig 2.2.10 Extracted letterforms (18/06/2025).
Fig 2.2.11 Reference font (18/06/2025).
Fig 2.2.12 Final letterforms (18/06/2025).
Fig 2.2.13 Original extraction (top) and final letterforms (bottom) (18/06/2025).
Fig 2.2.15 Exercise 2 Part 1 PDF Compilation (18/06/2025).
Exercise 2: Type & Play (Part 2)
Using the extracted letterforms, we were tasked with creating a mockup movie poster incorporating the letterforms as the title.
I used a similar photo of a dragonfly, and started thinking about how to arrange the texts.
Fig 2.2.16 Movie poster image (13/05/2025).
Fig 2.2.17 Drafting format (13/05/2025).
I wanted the genre of this movie to be old-school horror, so I incorporated black & white gradients and Photoshop effects, supported with red texts.
I used the Image Trace tool to help vectorize the flat PNG logos.
Fig 2.2.11 shows my first attempt at making the movie poster.
Fig 2.2.18 First attempt at movie poster (14/05/2025).
After Feedback (14/05/2025)
Issues with the poster —
- Difficult legibility on the credit block due to small point size
- No margins set
- Contrast is too strong (red on black)
- To fix, font needs to be more thicker
The final, as shown in Fig 2.2.12, addresses the issues.
Fig 2.2.19 Final Mockup Movie Poster (15/05/2025).
Final Submission for Exercise 2 (Part 2)
Fig 2.2.20 Final Movie Poster — JPEG format (20/05/2025).
Fig 2.2.21 Final Movie Poster — PDF format (20/05/2025).
Exercise 2 Final Compilation
Fig 2.2.22 Image and Extraction (18/05/2025).
Fig 2.2.23 Overall Process (18/05/2025).
Fig 2.2.24 Extracted letterforms (18/05/2025).
Fig 2.2.25 Reference font (18/05/2025).
Fig 2.2.26 Final letterforms (18/05/2025).
Fig 2.2.27 Original extraction (top) and final letterforms (bottom) (18/05/2025).
Fig 2.2.29 Exercise 2 Part 1 PDF Compilation (18/05/2025).
Fig 2.2.30 Final Movie Poster — JPEG format (20/05/2025).
Fig 2.2.31 Final Movie Poster — PDF format (20/05/2025).
3. Feedback
Week 1
General Feedback: Mr. Vinod gave a detailed introduction to the module, laying down the ground rules and emphasizing the importance of attendance. He then briefly explained the first set of exercises and encouraged us to watch the provided videos on how to approach them.
Week 2
General Feedback: Avoid extreme angles for better legibility. Always set your margins, columns, and rows before working. Don't add elements if not necessary, and make sure to not have your design too contrasting in colors. Mr. Vinod also gave clear instructions on what to prepare for the next task.
Specific Feedback: Half of the systems are fine, but the other half needs readjustments. Random system needs repositioning of the top right element. Grid system needs improvement on the title and leading on the body text. Transitional system has unnecessary elements. Bilateral system needs to be less blocky.
Week 3
General Feedback: You have to learn to accept harsh feedback.
Specific Feedback: No specific feedback due to the use of an invalid photo as reference.
Week 4
General Feedback: Always set a margin before working on compositions such as posters. A brief explanation of Task 2 was also given.
Specific Feeback: Letterforms are alright, but R needs a bit of adjustments. Poster needs rework because of the color contrasts and the credit block's legibility.
4. Reflections
Experiences
Exercises 1 and 2 were a fun start to the semester, each offering a different challenge. I enjoyed working on the eight typographic systems in Exercise 1, as it gave me the chance to experiment with various layouts and understand what works visually. In Exercise 2, I struggled at first because I mistakenly chose a painting instead of a photo for letterform extraction. The feedback from Mr. Vinod was hard to take at the time, but I knew the mistake was mine. Redoing the task taught me to be more observant and careful in my decisions.
Observations
I noticed that I relied heavily on the resources provided by Mr. Vinod throughout both exercises. Kimberly Elam’s book on typographic systems was especially helpful, offering clear examples that guided my design decisions. For Exercise 2, Mr. Vinod’s article on his own process and the examples from past students helped me better understand what was expected. Both exercises felt quite niche, and I found that there were limited external references available, which made the provided materials even more valuable.
Findings
A key takeaway was learning to trust my own judgment rather than always seeking Mr. Vinod’s feedback. This pushed me to reflect on my growth, including building confidence, critical thinking, and applying my knowledge independently.
5. Further Reading
Fig 5.0.1 Typographic Systems by Kimberly Elam, Week 2 (28/04/2025).
Typographic Systems helped me with Exercise 1, which focuses on the eight typographic systems. The book was provided by Mr. Vinod, and it allowed me to explore each system in greater detail.
Fig 5.0.2 Finding Type: A Novel Typographic Exercise by Vinod Nair, Week 3 (03/05/2025).
Finding Type: A Novel Typographic Exercise is an article written by Mr. Vinod that explains his purpose for designing and creating the exercise. The article includes detailed instructions on how to approach it and showcases past students' work as examples for future learners.
I was able to find guidance through this article, thanks to the level of detail it provided.
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