Advance Typography - Task 1 : Exercises

These systems can be combined in an infinite number of ways, thus creating a variety of typographic compositions. Typographic organization is complex; its complex nature, due to the elements involved in each system, can produce different visual results.

Axial System : all element are organized to the left or right of a single axis.
Radial System : All elements are extended from a point of focus.
Dilatational System : All elements expand from a central point in a circular fashion.
Random System : Elements appear to have no specific pattern or relationship.
Grid System : A system of vertical and horizontal divisions.
Transitional System : An informal system of layered banding.
Modular System : A series of non-objective elements that are constructed in as a standardized units.
Bilateral System : All text is arranged symmetrically on a single axis.

Fig 1.1 8 Typographic System, Week 1 (22/04/2025).Jpeg

Week 2: Typographic Composition

Lecture : AdTypo_2_Typographic Composition

Typographic Composition

Typographic composition is arrangement of textual information in a given space and the skillful appplication of letters, numbers, and other writting symbols to a graphic design composition.

Principles of Design Composition

This includes understanding how typography applies to both the creation of letters and the planning of large amounts of text. The principles of design, such as emphasis, isolation, repetition, symmetry, and alignment, contribute greatly towards successful typographic designs.

Emphasis: It is simple to apply this concept to design composition where certain items can be made prominent in a composition.

Fig 2.1 Typographic composition, Week 2 (29/04/2025).Jpeg

Rule of Thirds : it basically suggests that a frame a space can be divided into three columns which is three columns and 3 rows the intersecting lines are used as guidelines to place the point of interest.

Fig 2.2 Typographic composition Rule of thirds, Week 2 (29/04/2025).Jpeg

Symmetry and Asymmetry: Symmetry is simple to apply, while asymmetry may be more complex but is essential to create dynamic layouts.
Repetition and Perspective: These are less susceptible to typographic treatment, requiring careful application in their execution.

Typographic System

There are eight typographic systems covered under the module, of which the grid system is most prevalent. It is letterpress printing-based and is the only system that allows a loose but controlled way of approaching the design of layouts. The Swiss modernist way has furthered this system, adding the aspects of excitement in addition to order.

Postmodern Typography

Postmodern typography rejects the order of modernism in favor of chaos, asymmetry, and expressiveness. Designers like David Carson have embraced this style in order to challenge traditional legibility and create stunning visuals that are engaging, experimental, and visually compelling.

Other Models/System

Environmental Grid : An environmental grid is a graphic design approach that is based on the analysis of existing structures—like architecture or art—to direct the layout and organization of graphic designs.

Movement & Form : Movement in typography keeps readers interested by creating flow and visual rhythm within and across pages. Intentional layout and transitions allow the reader to be guided through content easily.

Fig 2.3 Typographic composition movement & form, Week 2 (29/04/2025).Jpeg

Grid System : This is the most common typographic system, based on letterpress printing. It gives you a structural approach to designing a layout, providing improvement in readability and organizing content. 9.

Week 3: Context & Creativity

Lecture : AdTypo_3_ Context & Creativity

Importance of Handwriting in Typography

Handwriting is of greatest significance in typographic research since the first machine-made letterforms were developed to imitate it. This provided a foundation for form, spacing, and convention in machine type.

Evolution of the Latin Alphabet: The Latin alphabet began around 1750 BCE and evolved from the proto-Sinaitic forms of letters and hieroglyphics into a phonetic system of writing in Phoenicia, then on to influence Greek and finally Roman alphabets.

Fig 3.1 Evolution of the Latin Alphabet, Week 3 (30/04/2025).Jpeg

Eastern Developments in Handwriting: The evolution of handwriting in the Middle East, from Phoenician to modern Arabic scripts, proves the interdependence of writing systems and their influences.

Greek Alphabet Development: The Greek alphabet, influenced by Phoenician characters, included vowels and was originally written in capital letters without a fixed reading direction, but it evolved into a more conventional format.

Fig 3.2 Greek Alphabet Development, Week 3 (30/04/2025).Jpeg

Historical Context of Writing Systems in South Asia and Southeast Asia :

Indus Valley Civilization (IVC): The IVC, also referred to as the Saraswati civilization, was sophisticated, advanced, and complex, with urban planning, drainage and sanitary facilities, and water collection pools, reflecting a complex society.

Brahmi Script: The Brahmi script is the ancestor of many scripts in India and has also impacted various scripts in Southeast Asia. It emerged at some point between 450 and 350 BCE, although the origins of the script are undoubtedly contested.

Fig 3.3 IVC & Brahmi Script, Week 3 (30/04/2025).Jpeg

Influence of Indian Scripts in Southeast Asia: Indian scripts, specifically the Pallava script, played an important role as a precursor to writing systems in most Southeast Asian countries. The Pallava script was used to write Sanskrit and Tamil and as the basis for many scripts in Southeast Asia.

Kawi Script: The Kawi script, which had its origins in the Nagari script, was native to Java and was applied in kingdom-to-kingdom communication. It played a great part in Malay languages being written.

Fig 3.4 Kawi Script, Week 3 (30/04/20205).Jpeg

Week 4: Designing Type

Lecture : AdTypo_4_ Designing Type

Introduction to Typeface Design

Typeface design is essential despite the existence of numerous typefaces. Designers have a social responsibility to improve legibility and express artistic vision.

Social Responsibility in Design

Designers have moral obligations to address needs and solve problems through their work.

Notable Type Designers

Adrian Frutiger: A significant figure in 20th-century typography, known for creating the Frutiger typeface for Charles de Gaulle Airport, focusing on legibility from various distances.
Matthew Carter: Known for Verdana and Georgia, designed to be legible on screens, addressing specific technical challenges.
Edward Johnston: Created the London Underground typeface, emphasizing bold simplicity and modernity while rooted in tradition.

Fig 4.1 Notable Type Designers, Week 4 (12/05/2025).Jpeg

Design Process

1. Research: Understanding type history, anatomy, and conventions is crucial .

2. Sketching: Designers may use traditional or digital tools for initial sketches, each with its pros and cons.

Fig 4.2 Sketching, Week 4 (12/05/2025).Jpeg

3. Digitization: Professional software like FontLab and Glyphs is used for refining designs.

4. Testing: Rigorous testing is essential to refine and correct typefaces before deployment.

Fig 4.3 Testing, Week 4 (12/05/2025).Jpeg

Considerations in Typeface Design

Legibility and Readability: These are critical for text typefaces, while display typefaces can prioritize form over function .
Visual Corrections: Adjustments for optical illusions in letterforms and spacing are necessary for uniformity.

Fig 4.4 Considerations in Typeface Design, Week 4 (12/05/2025).Jpeg

Motivations for Design

Intrinsic Motivation: Designers may feel a personal drive to create or solve problems through typeface design.
Extrinsic Motivation: Designers may be commissioned or tasked to create typefaces, which can also drive the design process.

INSTRUCTIONS

Exercise 1 – Typographic System

There are eight typographic systems. We were tasked with researching the eight systems and creating eight final typography posters (200 x 200mm) using InDesign software. In addition to black, one other color can be utilized with certain graphic elements.

Chose the headline :

All Ripped Up: Punk Influences on Design

The ABCs of Bauhaus Design Theory

Russian Constructivism and Graphic Design

Content as below :

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

Research

In week 1, I did a lot of research on the 8 typography systems, such as everyday examples, examples of how to make them, the meaning of the typography system, etc. This was suggested by Sir Vinod to learn more about the 8 typography systems.

Fig 5.1 Research Reference, Week 1 (23/04/2025).Jpeg

Sketches

I drew the sketches in Procreate, and there were 33 in all. For each typographic system, only a few sketches were chosen as the finest. After choosing the sketches, I digitized them in InDesign to clean them up and improve them.

Fig 5.2 Sketches, Week 1 (24/04/2025).Jpeg

Attempts

After sketching in Procreate, I began digitizing in InDesign. I chose 2-3 sketches from the sketchbook. Even though I had used Indesign software before, I still struggled because I was unfamiliar with it, so I watched the video instruction provided by Sir Vinod and learnt it on YouTube. After understanding it, I began digitizing 8 typographic systems.

Below is the process of creating the Axial typographic system. At first I thought axial would be easy to work on, but it turned out I had a little trouble. I had trouble distinguishing modular, grid, and axial. I thought Axial was very similar to both typographic systems, but with a lot of research on the meaning, differences, and examples, I was able to complete it well. In total I made 4 digitizations of Axial.

Fig 5.3 Attempts for Axial, Week 1 (26/04/2025).Jpeg

The Dilatational Typographic System method comes next. In my perspective, this method takes a long time to create. Because at first I had no idea how to arrange the words in the curved bullet that I had created. I also had to follow YouTube lessons to aid me with the digitalization. Finally, I was able to create the two systems with the help of the study.

Fig 5.4 Attempts for Dilatational, Week 1 (26/04/2025).Jpeg

Just like the dilatational system, I had trouble creating the transitional system because I still had difficulty arranging curved words so that sometimes they looked messy. But finally I was able to produce 2 digitalization results for transitional.

Fig 5.5 Attempts for Transitional, Week 1 (27/04/2025).Jpeg

Below are the complied 8 typographic systems:

Fig 5.6 Complied for 8 Typographic System, Week 2 (28/04/2025).Jpeg

Axial

1. Universe LT Std ( 75 Black, 67 Bold Condensed ), Gill sans MT (Reguler, Bold)

2. Gill Sans MT ( Bold, Reguler, Bold Italic)

3.Futura Std ( Bold, Heavy Oblique), Gill sans MT (reguler)

Fig 6.1 Axial , Week 2 (28/04/2025).Jpeg

Axial design was inspired by several references that I got. From the feedback that was obtained, there were several changes that I made. Doing axial design is not that easy; at first I had difficulty in making a neat layout. After studying the axial system, I was finally able to complete the digitalization.

Radial

1. Futura Std (Book Oblique, Bold, Book)

2.Futura Std (Book Oblique, Bold, Book)

Fig 6.2 Radial , Week 2 (28/04/2025).Jpeg

I had difficulty in making a radial design. At first I had trouble making the words neat and curved, so I asked for help from my friend. The radial design that I made was inspired by space. In space there are orbits and also galaxies. Every time I see that, I always remember that space has a radial system flow.

Dilatational

1. Futura Std (Book Oblique, Bold, Medium), Univers LT Std ( 65 Bold Oblique)

2.Gill Sans MT ( Bold, Reguler)

Fig 6.3 Dilatational , Week 2 (28/04/2025).Jpeg

For dilational design, I experienced confusion in arranging the layout, but after trying it out with the adjustment of the layout, I was able to create a neat layout. I started to arrange the sentences and titles into positions that suited my dilational system.

Random

1. 10 fonts \ (Futura Std , Adobe Caslon Pro, Gills Sans MT, Universe LT Std)

Fig 6.4 Random, Week 2 (28/04/2025).Jpeg

Scrapbook served as my inspiration for system typographic random. For random, I selected a white backdrop color; for the font, I utilized a combination of ten fonts provided by Sir Vinod. Making a random system required a significant amount of time. I disliked version 1 since it was not as hectic. I struggled to create a chaotic arrangement, but with the help of a friend, I was able to complete the second version. I prefer the second version, which is chaotic and erratic.

Grid

1. Futura Std (Bold) Gill Sans MT ( reguler, Bold, Bold Italic)

2. Futura Std (Bold) Gill Sans MT ( reguler, Bold, Bold Italic)

Fig 6.5 Grid, Week 2 (28/04/2025).Jpeg

For the grid system, I utilize the grid size specified by Sir Vinod. I was perplexed when creating the grid because the grid and modular are nearly identical, making it difficult to identify. But I can perform the digitalization well. I created two versions: In version 1, I like the layout, but I feel there is something missing; in version 2, the elements I use are too distracting, and if I remove the element, the layout feels empty.

Modular

1. ITC Garamond Std (Ultra, Ultra condesed, Bold Italic, Book)

2. Universe LT Std (85 Extra Black Oblique, 75 Black, 65 Bold, 55 Roman) Futura Std (Book) Gill Sans (Bold Italic)

Fig 6.6 Modular, Week 2 (28/04/2025).Jpeg

For modular inspiration I used a monthly planner board as my reference. Use the same-sized planner board for each unit. I also utilize three-by-six columns. To assist me in making modularity easier. For version 1, I made a total of 8 units, and for version 2, I made 8 units each sentence. I favor version 1 since it is more nicely organized and resembles planner board units.

Transitional

1. Futura Std (Book, Bold condensed, Medium) Gill Sans MT (Regular)

2. Gill Sans MT (Regular, Bold, Italic)

Fig 6.7 Transitional, Week 2 (28/04/2025).Jpeg

I was inspired by shooting stars as well as ocean flow when developing the traditional system. I used the pen tool to create the curved lines. I like version 1 over version 2 because version 1 has a more readable flow than version 2, which I believe is a little sloppy.

Bilateral

1. Bembo Std (Bold) ITC Garamond (Bold, Book)

2.Futura Std (Book, Bold) Gill Sans MT (Regular)

3.ITC New Baskerville (Bold, roman, Bold Italic)

Fig 6.8 Bilateral, Week 2 (28/04/2025).Jpeg

For the bilateral system, I was inspired by formal wedding invitation cards. On all three versions, I used Align and Line components. I prefer version 1 since it appears nice and formal.

Final 8 Typographic System

Fig 7.1 Axial System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.2 Radial System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.3 Dilatational System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.4 Random System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.5 Grid System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.6 Modular System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.7 Transational System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.8 Bilateral System Final Outcome, Week 2 (29/04/2025).Jpeg

Fig 7.9 Final Complilation 8 Typographic System, Week 2 (29/04/2025).Jpeg

Fig 7.10 Final Outcome 8 Typographic System PDF, Week 2 (29/04/2025).Jpeg

Fig 7.11 Final Outcome 8 Typographic System Without Grids PDF, Week 2 (29/04/2025).Jpeg

Exercise 2 – Type & Play Part 1/ Finding Type

We were given the task of capturing anything natural, a man-made object, or a built structure. We were instructed to carefully inspect this image and extract at least 5 letterforms. After displaying them, we would tweak the letterforms in Adobe Illustrator to create final typographic objects.

Research

I conducted some photo research to discover photos that can be classified into five letters; the most of them are of the environment, animals, and food.

Fig 8.1 Research Refining Week 2 (03/05/2025).Jpeg

Chosen Subject

I selected an image of chuka wakame (Japanese seaweed cuisine). I could clearly distinguish the letter L, in the form of curling and folding of the seaweed. The edges and curves of the shape faithfully depicted the organic movement of the form.

Fig 8.2 Chosen Subject Week 2 (03/05/2025).Jpeg

Extraction

below are the results of extraction A,G,E,L,X

Fig 8.3 Extraction Letter Week 2 (04/05/2025).Jpeg

Fig 8.4 Final Extraction Week 2 (04/05/2025).Jpeg

Refining process

I choose Acme Gothic Condensed Light as the reference font. I originally intended to use Papyrus font, but while the font is appropriate for reference, the distance and thickness are not. In the end, I utilize font references that are all the same thickness and straightforward, such as Acme Gothic Condensed.

Fig 8.5 Font Reference Acme Gothic Condesed Week 2 (04/05/2025).Jpeg

After locating the reference font, I began improving each letter A, L, G, E, and X. I began refining using my letter extract and the reference font to reflect the Chuka Wakame texture.

Fig 8.6 Progress version 1 Week 2 (04/05/2025).Jpeg

After completing the refining process in stage 1, I thought something was missing, so I tidied up the letter structure and made it more similar to the reference. For version 2, I began to appreciate the font of the letters, but the curve in the letter E was too unsettling, as was the thickness of the horizontal line in L and E, so I had to fix it. For version 2, there were various aspects that needed to be changed.

Version 3 is the final stage of letter refining; I fixed the thickness and texture and smoothed the edges of each letter.

Fig 8.7 Progress version 2 & Finals Week 2 (04/05/2025).Jpeg

Below is each refining process and also a description of refining A, L, G, E, X.

Fig 8.8 Overall Progress Week 3 (05/05/2025).Jpeg

Final Refining

Fig 9.1 Extraction Week 3 (05/05/2025).Jpeg

Fig 9.2 Final Extraction Week 3 (05/05/2025).Jpeg

Fig 9.3 Final Progress Week 3 (05/05/2025).Jpeg

Fig 9.4 Final Refined Letter "A" Week 3 (05/05/2025).Jpeg

Fig 9.5 Final Refined Letter "L" Week 3 (05/05/2025).Jpeg

Fig 9.6 Final Refined Letter "G" Week 3 (05/05/2025).Jpeg

Fig 9.7 Final Refined Letter "E" Week 3 (05/05/2025).Jpeg

Fig 9.8 Final Refined Letter "X" Week 3 (05/05/2025).Jpeg

Fig 9.9 Reference (Top), Before (Middle), After (Bottom) Week 3 (05/05/2025).Jpeg

Fig 9.10 Final PDF Letters Week 3 (05/05/2025).PDF

Exercise 2 – Type & Play Part 2/ Poster

Research

After completing the task of refining letterforms, we were given the next exercise, which was to make a poster. The poster size is 1024 x 1024 px. In the first stage, we researched movie posters. I was inspired by the movie poster about chefs.

Fig 10.1 Research Week 3 (06/05/2025).Jpeg

Process

I chose a photo of traditional Japanese food, namely chuka wakame; after selecting the photo, I imported it into AI.

Fig 10.2 "Chuka Wakame" Week 3 (06/05/2025).Jpeg

After that I adjusted the color of the photo to red to create an alien atmosphere from outer space.

Fig 10.3 Color Adjustment Week 3 (06/05/2025).Jpeg

I took all the movie logos from Google in HD resolution, and I trimmed each of them using the pen tool and clipping mask.

Fig 10.4 Logo Trimming Week 3 (06/05/2025).Jpeg

I tried several composition variations on the body text, logo, and also the title of the poster.

Fig 10.5 Composition Variations Week 3 (06/05/2025).Jpeg

Final Poster

Fig 10.6 Final Outcome Poster Week 3 (06/05/2025).Jpeg

Fig 10.7 Final Outcome Poster PDF Week 3 (06/05/2025).PDF

FEEDBACK

Week 1

General Feedback :

In our first meeting, we were given an explanation about MIB briefing. Mr. Vinod explained to us the assignments, final assignments, and exercises that we will be involved in. After explaining the MIB, he explained our first exercise, which was exercise one about the typographic system. We were given the exercise to recall the lessons of semester 1.

Week 2

General Feedback :

In the second week, Mr. Vinod provided feedback on Exercise 1. The exercise received inputs, including the following: the format should be more uniform and clean, balanced elements are key, don't be too distracting, and spacing is essential. He further recommended that we use criticism to improve critical thinking skills and creative patterns.

Specific Feedback:

He did not give me specific feedback for me; he said that because he had given general feedback, I could use the feedback to revise my typographic system.

Week 3

General Feedback:

For week 3, he gives us feedback on refining letter form. It's important to ensure that the image we implement is clear and that the refining process accurately reflects it. Refinements begin with analyzing and researching the image's structure and qualities.

Specific Feedback :

When he check my works of letter refining, he said that my works have no problem and I can continue to the next exercise.

REFLECTION

Experience

Over the past couple of weeks, my experience working on these exercises has been really intriguing. and challenging. In this lesson, I have relearned a lot about formatting, spacing, and balance. What is interesting about these exercises is that we can relearn about semester 1 learning. I like exercise 2 the most because I can create font through my creative thinking patterns. In my opinion, exercise 2 is the easiest exercise compared to exercise 1. I experienced some difficulties in exercise 1, such as the difference between several typographic systems that cannot be understood so that the format that was done was wrong. However, thanks to this learning, I can learn about various types of typographic systems and also types of fonts made from everyday objects. Overall, I like the experiments and designs that I have made.

Observations

While working on this task, I made observations about the characteristics of the typographic systems and font refining samples that had been created. I also observed typography created by my seniors. In my opinion, these examples assist me in finding new inspiration and managing my creative thought habits.

Findings

Overall, this assignment taught us many things, we were able to learn about typographic system and how to do refining. We also learned how to use Indesign and Adobe Illustator correctly so we could create format and refining letter form. This helps me to recognize the characteristics of the typographic system I have created and my refining letter form.

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Valenz Jycee Primadi (0373407)

Advance Typography - Task 1 : Exercises

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