Advanced Typography - Task 1: Exercises

 22/9/2025 -19 /10/2025 / Week 1 - Week4  

YANG SHUO / 0384037

Bachelor of Design (Hons) in Creative Media

Advanced Typography / Task 1: Exercises

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LIST

• LECTURES

• INSTRUCTION

• EXERCISE

• FEEDBACK

• REFLECTION

• FURTHER READING

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LECTURES

Week 1 

AdTypo_1_Typographic Systems

Kimberley Elam summarized the typography systems into eight major variants: Axial， Radial， Dilatational， Random， Grid， Modular， Transitional， Bilateral.

• Axial： All elements are organized to the left or right of a single axis. 

• Radial: All elements are extended from a point of focus.

• Dilatational: All elements expand from a central point in a circular fashion.

• Random： Elements appear to have no specific pattern or relationship.

• Grid: A system of vertical and horizontal divisions.

• Transitional : An informal system of layered banding.

• Modular : A series of non-objective elements that are constructed as a standardized unit.

• Bilateral : All text is arranged symmetrically on a single axis.

Fig 1.1 The eight typography systems (09-23_W1)

Week 2 

AdTypo_2_Typographic Composition

• Design Composition Principles

This section examines emphasis, isolation, repetition, symmetry/asymmetry, alignment, and perspective, highlighting their application in typographic layout design.

• The rule of thirds

 It's a photography guideline that divides an image into three rows and three columns, with the intersections serving as natural focal points for composition.

Fig 1.2 e.g. The rule of thirds (09-29_W2)

• Typographic Systems

Explores the eight typographic systems, placing special focus on the Grid System. It enables modular, hierarchical, and balanced typographic layouts. And it can effectively improve text readability and the user's reading experience.

• Postmodernist Typographic Systems

Break the grid, presenting chaos and randomneses, reducing readability and legibility.

•  Environmental Grid and Form & Movement

These alternative systems structure typographic design around environmental elements, employing grid systems to build dynamic layouts that span multiple pages or screens.

Fig 1.3 e.g. Form and movement (09-29_W2)

Week 3

AdTypo_3_Context&Creativity

• The Influence of Handwriting on Typography

As shown in the image below, early mechanically produced typefaces were inspired by handwritten forms. This imitation helped establish the basic principles of type design, spacing, and conventions. The shapes of early scripts were influenced by the tools and materials used, such as bones, brushes, and reeds.

Fig1.4 Evolution of the Latin Alphabet (10-06_W3)

Fig1.5 Ancient Egypt Hieroglyphics Chart (10-06_W3)

• Historical Writing Systems

Traces the origins and development of writing systems over time:
Cuneiform (3000 BCE): Early pictographic script impressed on clay tablets.
Hieroglyphics (Egypt): Combined rebus, ideographic, and phonetic symbols that influenced later alphabets.
Phoenician, Greek, and Roman scripts: Marked the shift from image-based to sound-based systems, shaping the foundation of Western typography.

• Key Scripts Through Time

Roman Uncials (4th century CE): Rounded letterforms that allowed faster writing.
Carolingian Minuscule (8th–9th century): Unified writing across Europe with spaces, punctuation, and standardized lowercase forms.
Gothic Blackletter (Medieval era): Dense, angular script reflecting Gothic artistic sensibilities and widely used in manuscripts and early printing.

• Movable Type

Explores the Asian origins of movable type printing:
China (8th century): Used woodblock printing for books and documents.
Korea (14th century): Innovated with bronze movable type, predating Gutenberg’s invention in Europe.
Despite challenges posed by large character sets, these technologies advanced knowledge sharing across Asia.

• Cultural Influence and Bias

Addresses how Western academic traditions often overlooked non-Western contributions:
Highlights the importance of acknowledging the innovations of Egypt, Mesopotamia, India, China, and other regions.
Calls for a more inclusive historical perspective that recognizes global influences on typography.

• Eastern Typography and Scripts

Focuses on the evolution of writing systems across Asia:
Brahmi script (c. 450 BCE): The root of many South and Southeast Asian scripts.
Derived forms such as Pallava and Kawi spread through trade, religion, and culture.
Jawi script: Adapted from Arabic and expanded through the spread of Islam.
Modern technology has played a vital role in digitizing and preserving these regional scripts.

• Modern Vernacular Movements

Examines recent efforts to revive and promote native scripts:
Designers and organizations are digitizing endangered writing systems and integrating them into modern platforms.
In Malaysia, figures like Muthu Nedumaran work to preserve and modernize local scripts.
Emphasizes creativity rooted in cultural heritage, ensuring local identities remain visible in the global design landscape.

Week 4  

AdTypo_4_Designing Type

Typeface Design Process

1. Research

• Begin by understanding type history, anatomy, and conventions, along with technical aspects like side-bearing, metrics, and hinting.
• Clarify the purpose and application of the typeface, and analyze existing fonts for context, inspiration, and usage patterns.

2. Sketching

• Develop initial ideas through traditional sketches (pen, brush, ink) or digital drawing tools like tablets.
• This stage focuses on exploring proportion, rhythm, and form before moving to precise digital construction.

3. Digitization

• Convert sketches into digital format using FontLab or Glyphs App, sometimes aided by Adobe Illustrator.
• Pay close attention to both form and counterform, as readability depends heavily on the balance between them.

4. Testing

• Prototype and test the typeface to refine spacing, weight, and legibility.
• For text types, readability is essential; for display types, expressive form may take priority.

5. Deploy

• Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment. The rigour of the testing is important so that the teething issues remain minor. 

Technical Considerations in Typeface Construction

• Roman capitals constructed using grids of squares and circles with specific proportions.
• Letters grouped by shape traits (round, rectangular, diagonal) to streamline design.
• Visual corrections (overshoot) necessary for optical alignment of curved and straight forms.
• Letter spacing (fitting) adjusted for uniform visual white space, not just mathematical equality.
• Many approaches exist; designers develop personal methodologies over time.

Fig 1.6-1.8 Technical Considerations in Typeface Construction(10-13_W4)

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INSTRUCTION

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EXERCISE

Exercise 1- Typographic Systems （week 1）

• Initial Design

Fig 2.1 Typography design of the 8 systems in InDesign (09-23_W1)

For this task, we are required to use only Adobe InDesign for layout design. We follow these eight typesetting systems: Axial， Radial， Dilatational， Random， Grid， Modular， Transitional， Bilateral. I gained a preliminary understanding of the composition of these eight systems through the lecture, so I started my draft in Procreate first.

Fig 2.2 Draft in Procreate (09-23_W1)

Before proceeding to the next step, I realized that my draft had some flaws, so I only used it as a reference when doing the formal work. For example, in terms of color usage, I simplified the colors to red, black, and white. I used the same font in all typesetting systems ：Futura Std.

• Improved design

In the second week of class, I received feedback on my assignment. Mr. Vinod pointed out several issues that I still need to improve：

1. All text in the axis system needs to follow the axis distribution. I have a text that needs to be moved to the correct position.
2. In the dilatation system, the black graphics are too eye-catching and can be reduced or removed; the red outline on 'Bauhaus' can be removed.
3. The letter spacing in the module system's headings is too wide.
4. Most of the problems in the other systems are related to the difficulty of reading the information text.

After addressing each of the above issues one by one, I obtained the final design versions. The following is the design process for each system, including both independent design and improvements based on feedback. 

• Design process

Fig 2.3 Design process of the eight systems (09-29_W2)

• Process Summary

1. Axis System, I used the axis to divide the whole into unequal black and white parts, giving the whole a contrast of light and dark.
2. Radial System, I placed the focal point on the left edge, with radiating lines dividing the picture into several black and white blocks. And the text is also distributed radially along the color blocks.
3. Dilatational system, I initially used two large black circles to set focal points, representing the diffusion range of the title and the information text respectively. After making modifications based on feedback, I lightened the color of the two large circles to reduce their impact on the visual focus.
4. Random system, My inspiration comes from message boards. I enclose the text in rectangles of different styles and then arrange them randomly, simulating the appearance of various sticky notes pinned to a message board.
5.  Grid system, I used three reference lines both horizontally and vertically, and all the text is arranged in an orderly manner according to the reference lines. I  corrected the issue that made the schedule text difficult to read. I adjusted the issue of excessive spacing between the words 'The ABCs Of' in the title based on feedback.
6. Modular system, I divided the page into 4×4 black, white, and gray grids, and placed the text into each module. I  corrected the issue that made the schedule text difficult to read.
7. Transitional system, I used white text on a black background, with the text extending downward in an S-shape, resembling the branches of a river.
8. Bilateral system, I used symmetry along the central axis, arranging the text in an hourglass shape. I also corrected the issue of some fonts being hard to read.

• Final Task 1 - Exercise 1: Typographic Systems

Fig. 2.5 Final Axial System - JPEG, (09-29_W2)

Fig. 2.6 Final Radial System - JPEG, (09-29_W2)

Fig. 2.7 Final Dilatational System - JPEG, (09-29_W2)

Fig. 2.8 Final Random System - JPEG, (09-29_W2)

Fig. 2.9 Final Grid System - JPEG, (09-29_W2)

Fig. 2.10 Final Modular System - JPEG, (09-29_W2)

Fig. 2.11 Final Transitional System - JPEG, (09-29_W2)

Fig. 2.12 Final Bilateral System - JPEG, (09-29_W2)

Fig. 2.13 Final typography design （Overview） - JPEG, (09-29_W2)

Fig. 2.14 Final  Typographic Systems - PDF,  (09-29_W2)

Fig. 2.15 Final  Typographic Systems Grids and Guides - PDF,  (09-29_W2)

Task 1: Exercise 2 - Type and Play

• Research

For this task, I need to extract patterns from a photo with textures or graphics, transform them into abstract letters, and then gradually refine them into a complete font. I found a picture of a bamboo forest （ from Pinterest）. By observing it, I noticed that the overlapping bamboo leaves and branches can form the shapes of certain letters. 

Fig 2.16 The picture of bamboo forest (09-29_W2)

• Process of  font design
  

I outlined its main contours and selected some as the source for the letter shapes. The letters are 'I H A V E'.

Fig 2.17 Extracted letterforms- I, H, A, V, E(09-29_W2)

The initially extracted letters are rather abstract, and I have found a reference font. The reference font is Jason Text LT Std. At first, I chose Italic, but Mr. Vinod suggested in his feedback that I change it, so I chose Roman.

Fig 2.18 The reference font- Jason Text LT Std

Italic ＆ Roman (09-29_W2)

The initially extracted glyphs were irregular, so I began the second step: simplifying the font. Referring to the reference font, I standardized the height of each letter to make their proportions more uniform. At the same time, I modified each 'bamboo leaf'-shaped stroke to be more similar, making them look more orderly. 

In the independent exploration and design stage, I mistakenly kept two disconnected elements — the bamboo leaf and the branch — which made my letters lack unity. Except for the letter V, all others used both elements inconsistently, causing similar strokes to appear different. For example, the vertical strokes of the letters I and H should look the same, but I used the branch element for one and the bamboo leaf element for the other, which was not ideal.

Fig 2.19 Example of I and H (10-06_W3)

So I unified all the strokes into the shape of bamboo leaves. In the feedback from the guidance in the third week, Mr. Vinod also told me that the stroke patterns of 'A' and 'V' should be the same. 

Fig 2.20 Comparison of the letter A and V before
 and after unification(10-06_W3)

With the letter 'V' as the most standard model, the characteristics of the other letters should all align with it.

Fig 2.21 Comparison before and after font adjustment (10-06_W3)

To be honest, I prefer the original version. I think it looks more like bamboo rather than just any leaf. But the problem is, if I design not just 5 letters but all 26, it would definitely look very chaotic. So I still kept the revised, concise, and uniform version.

• Process of  poster design

To complement the font theme, I chose a photo of bamboo （from Pinterest）. This photo uses a radial blur effect, which I think helps to highlight the font I want to showcase.

Fig 2.22 The picture of bamboo (10-06_W3)

I wanted the letters on the poster to appear like bamboo leaves swaying in the wind, with interlacing light and shadow effects. So I used the gradient tool to fill in the colors. At the same time, I created a shadow effect by duplicating the layer, filling it with gray, and adding a Gaussian blur.

Fig 2.23 Letters with added effects (10-06_W3)

After adjusting the main part of the poster, I added some text to make the layout more enriched and give it a magazine-like feel. The final poster is as follows:

Fig 2.24 Poster (10-06_W3)

• Final Task 1 - Exercise 2: Type and Play

Fig 2.25 Image and extraction (10-06_W3)

Fig 2.26 Extracted letterforms_ baselines (10-06_W3)

Fig 2.27 Final letterforms_ baselines (10-06_W3)

Fig 2.28 Reference font (10-06_W3)

Fig 2.29 Refinement process(10-06_W3)

Fig 2.30 Original extraction and Final letterforms
comparison(10-06_W3)

Fig 2.31 Final letterforms (10-06_W3)

Fig 2.32 Collage of image, dissection and extraction,
 reference, refinement and final(10-06_W3)

Fig 2.33 Poster (10-06_W3)

Fig 2.34 Final Task 1 - Exercise 2: Type and Play _PDF (10-06_W3)

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FEEDBACK

Week 1
General Feedback： In this class, we learned about the module’s content, objectives, learning requirements, and final grading rules. We also reviewed excellent e-portfolios from previous cohorts. The professor emphasized that mastering learning methods and developing good work habits matter more than simply chasing high scores.

Week 2
General Feedback： This class provided feedback on the completion of Task 1. The professor emphasized that we must use InDesign for our creations. Common issues included excessive decoration and typography that did not meet the requirements of the specified system.
Special Feedback： This class provided feedback on the completion of Task 1. The professor emphasized that we must use InDesign for our creations. Common issues included excessive decoration and typography that did not meet the requirements of the specified system.

Week 3
General Feedback： In this class, Mr. Vinod provided feedback on our assignments for the 'finding type' task. The main problem for most students was that they did not extract the core features of the images, focusing only on small local areas; at the same time, the consistency guidelines we designed were not well followed.
Special Feedback： I chose bamboo as my reference, and Mr. Vinod approved of this idea. However, the outcome of my assignment was not ideal. I failed to maintain consistency across the five letters — strokes that should have shared the same characteristics ended up looking different.

Week 4

General Feedback： This class focused on wrapping up Task 1 and introducing Task 2. Regarding Task 1, Mr. Vinod commented on our final font extraction form and poster design. The professor also showed us what an good electronic portfolio should look like.

Special Feedback： The problem with my poster is that the main font is not prominent enough. It should be appropriately enlarged, and other informational text should be reduced to ensure readability.

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REFLECTION

Experiences

In Exercise 1, my biggest challenge was balancing creativity with the system’s rules. Before starting, I studied many representative works from the eight typographic systems, hoping to learn from them. However, I soon realized that true understanding comes from developing my own ideas. The random system was the hardest for me — without clear constraints, I lost inspiration and direction. I often worried that my designs were either too rigid or strayed from the rules. Fortunately, Mr. Vinod approved most of my work, which gave me confidence.
Compared to Exercise 1, Exercise 2 allowed more freedom, which I enjoyed. I did well in the research and selection stages, but faced challenges when refining the letterforms. This made me realize that design requires both creativity and precision. I didn’t fully integrate the elements into a unified style. Although the final result met the requirements, I wasn’t completely satisfied and hope to improve in future projects.

Observations

In these two exercises, I noticed that typography strongly depends on hierarchy and balance, even with minimal or abstract elements. In Exercise 1, non-target elements help guide the viewer’s eye and create focus, but they must be used carefully to keep visual consistency and avoid unnecessary decoration.

In Exercise 2, the uniform shape of bamboo leaves makes it easier to extract typographic features. The key is to make them unique while fitting into the background. Both exercises made me realize that typography is not only about letterforms but also about context, environment, and composition.

Findings

In this exercise, I found that typography can be creative. In Exercise 1, I studied and practiced the eight typographic systems. At first, I struggled between following the rules and expressing my own style. However, through self-exploration and the professor’s feedback, I realized that beginners follow systems to make their work more professional. In fact, all creativity in typography serves readability and legibility—being creative doesn’t conflict with following rules. Exercise 2 opened the door to creativity for me, but it also made me realize that my foundation is still weak, and I can’t yet fully bring my ideas to life. This will require steady effort and long-term practice.

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FURTHER READING

Typographic Systems

Kimberly Elam

Fig 3.1  Typographic Systems (09-29_W2)

The book Typographic Systems introduces eight main typographic systems: Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral. Each system provides a different structure for organizing text and controlling the flow of information. 

Since I had already become familiar with them during the lecture, I approached this reading in conjunction with my homework progress. I will also interweave my reflections from practice.

1. General Understanding

• The Axial system focuses on symmetry and balance.
• The Radial system expands outward from a center point and creates a strong focal direction.
• The Dilatational system organizes text in circular or spiral forms, giving a sense of rotation.
• The Grid and Modular systems are based on order and consistency.
• The Bilateral system appears free but still follows a visual rhythm along a vertical axis.
• Compared with these, the Random and Transitional systems are more open and experimental. They test the designer’s ability to balance order and freedom.

2. Random System

The Random system looks chaotic but is actually controlled. The book points out that if all text lines are strictly horizontal, it is almost impossible to create a real sense of randomness. When I tried tilting and shifting text, or adding circular and linear elements to balance the layout, I found that the design became more dynamic. However, it still needed an inner logic.

To me, randomness is not the opposite of order—it is a different form of order created through variation. Repetition and contrast help guide the viewer’s eye and make the composition readable even in a “disordered” layout.

Fig 3.2  Example of Random System,
from Typographic Systems (09-29_W2)

3. Transitional System

The Transitional system works between order and movement. It organizes text in loose bands that shift slightly in direction or spacing, creating a visual flow.

Unlike strict grid structures, it allows more flexibility but still keeps a clear reading path.

When I arranged text in slanted or overlapping bands, the composition felt more natural and continuous. This system works well for designs that suggest time, rhythm, or narrative because it makes reading feel like a gradual process instead of a static image.

Fig 3.3  Example of Transitional System,
from Typographic Systems (09-29_W2)

4. Nonobjective Elements

The book also mentions the role of nonobjective elements such as lines, circles, and tone. These can guide attention and build hierarchy.

Lines lead the eye, circles highlight key words, and tonal contrast defines visual weight.

In both the Random and Transitional systems, these elements help maintain clarity. They add rhythm without taking away focus from the text.

Fig 3.1  Three Nonobiective Elements, 
from Typographic Systems (09-29_W2)

5. Summary

All eight systems form the foundation of typographic structure:

• Axial, Radial, Dilatational — focus on direction and structure
• Grid, Modular — emphasize order and logic
• Random, Transitional, Bilateral — allow flexibility and flow

Among them, I find the Random and Transitional systems the most interesting. They give space for experimentation but still require precision and control. Good typography is not only about alignment—it’s about visual logic.

When randomness brings rhythm and transition brings movement, the layout starts to communicate visually, not just verbally.