Advanced Typography - Task 1: Exercises

Advanced Typography - Task 1: Typographic System & Type & Play

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22.09.2025 - 19.10.2025 / Week 1 - Week 4

Dave Christian Moniaga / 0385630

Advanced Typography / Bachelor of Design (Hons) in Creative Media

Task 1: Typographic System & Type & Play

Lectures

Week 1: Typographic Systems

There are eight variations of with an infinite number of permutations. (Elam, 2007) The system has a set of rules that is unique and provides a sense of purpose that focuses on the decision making, helping in understanding the nuances of typographic layout & composition.

1. Axial System

Elements are organized to the left / right of a single axis / single line. the axial does not need to be straight & can be bent.

Fig 1.1 Axial System (7/10/2025, week 3)

2. Radial System

Elements are spread / extended from a single point. There can also be multiple points of focus.

Fig 1.2 Radial System (7/10/2025, week 3)

3. Dilatational System

Elements expand from a central point in circular manner. There can be hierarchy in where the text are placed; the outer / inner rings.

Fig 1.3 Dilatational System (7/10/2025, week 3)

4. Random System
Elements have no specific pattern or relationship. Though, there is a method of chaos within the page.

Fig 1.4 Random System (7/10/2025, week 3)

5. Grid System
A system with horizontal and vertical divisions. It is fairly common and widely used.

Fig 1.5 Grid System (7/10/2025, week 3)

6. Transitional System

Informal system of layered banding. Banding: segregating information within certain bands.

Fig 1.6 Transitional System (7/10/2025, week 3)

7. Modular System

A set of non-objective elements that are constructed in standardized units. Each element of the same base unit can be shifted in different space along particular spaces. You can have two standardized units.

Fig 1.7 Modular System (7/11/2025, week 3)

Fig 1.8 Example of single & double base unit (7/10/2025, week 3)

8. Bilateral System

Text are arranged symmetrically on a single axis. It is used a lot in formal invites/invitation cards,

Fig 1.9 Bilateral System (7/10/2025, week 3)

Knowing different systems allows designers to have distinctiveness in organizing systems on a page, breaking free from rigid horizontal/vertical grid system of letter press. Designers can explore different potential and use more fluid means in creating typographic message.

Though, each system needs to be used appropriately to retain readability in the message.

InDesign Formatting notes:

Text information has to be kept between 8-12 points
Leading has to be 2-3 points more than original text

Ctrl + Shift + > shortcut to increase text size
Alt + Bottom Arrow Key shortcut to increase leading
Shift + W shortcut for presentation mode
Ctrl + B shortcut for text frame options

Week 2: Typographic Composition

Typographic composition pertains to the arrangement of textual information within a given space.

When observed, the principles in design composition can have a disparity between the theory and the application of said ideas. Some of the ideas are more easily translatable like emphasis & symmetry, while repetition or perspective might be harder (not easily usable).

Fig 2.1 Emphasis in composition (10/10/2025, week 3)

The Rule of Thirds

A basic photographic guide to composition, where a frame is divided into 3 columns and 3 rows. The intersecting lines form points for important information. Though generally not used in typography.

Fig 2.2 Rule of thirds in composition (10/10/2025, week 3)

Typographic System

In the 8 systems, the most pragmatic & used is the Grid System (Raster Systeme) that is derived from letter press printing; versatile and popular until today. This system is now enhanced and called the Swiss (Modernist) style of Typography

Fig 2.3 Examples of the grid system (10/10/2025, week 3)

The system was challenged by young designers: David Carson, Paula Scher, Jonathan Barnbrook, which created the post-modernist era. They replaced order with chaos that was exciting and new in a generation that was exposed with Punk ideas.

These chaotic ideas still had planning, thinking, and intuition. System that are called asymmetry, random, and repetition, dilatational, and radial systems were born.

Fig 2.4 Left to right: Paula Scher, Jonathan Branbrook, & David Carson (10/10/2025, week 3)

Environmental Grid

A system that is derived from multiple structures / existing structures (architectural, paintings, interior). The combination of information with the structure, creates and exciting mixture of texture and visual stimuli. Its mixing intuition, instinct with the element of structure and context.

Fig 2.5 Environmental grid example (10/10/2025, week 3)

Form & Movement (developed by Mr. Vinod)

This system is based on the exploration on the grid systems with the purpose of encouraging students to explore the options that the grid offers. The creation of this system is used to dispel the seriousness of the grid system and emphasize the placement of a form over many pages that creates movement.

Fig 2.6 Form & movement composition (10/10/2025, week 3)

There are non spread of elements that try to maintain the connection from one spread to another, creating a unique composition layout when used for a series of pages; web, book.

Week 3: Context & Creativity

Handwriting is important as it is the basis for form, spacing, & conventions. The shape & line of a letterform are influenced by the material and tools that make them, vice versa.

Fig 3.1 Evolution of the Latin Alphabet (12/10/2025, week 3)

Going back further, cuneiform is the earliest system of writing that was used in 34th century BCE through the 1st century CE. Its wedge form are the result of using a reed stylus into wet clay tablets. Cuneiform was written from left to right.

In Egypt, Hieroglyphics existed from 2613-2160 BCE. It was a mix of rebus and phonetic characters, linking to future alphabetic system. It has three ways to be interpret:

As ideograms, representing what they depict
As determinatives, signs are meant as phonograms & indicating general ideas
As phonograms, represent sound that spell out words

Fig 3.2 Ancient Egypt Hieroglyphs (12/10/2025, week 3)

Fig 3.3 The development of the handwriting system (17/10/2025, week 4)

Early Greek: Adopted from the Phoenicians, the letters were drawn freehand without compasses and rule & had no serifs. Through time, the strokes became thicker, aperture lessened, serifs appeared, and was used for formal lettering in imperial Rome.

Roman Uncials: By the 4th century, Roman letters became more rounded and curved which allowed for faster lesser strokes.

English Half-Uncials: Uncials evolved into a more slanted and condensed form.

Carolingian Minuscule: With general illiteracy, Emperor Charlemagne standardized the writing system. Capitals at the start of sentences, spaces between words, and punctuation. This development became the pattern for Humanistic writing of the 15th century (basis of lower-case roman type).

Black Letter: Condense lettering and tight spacing reduced the amount if costly materials. The letterform also had evenly space verticals.

Italian Renaissance: Going back to the humanist system of clear open handwriting. They named the new letterform Antica. The renaissance created a more perfect & rationalized letter.

Movable Type

Wood block was practiced in China, Korea, and Japan (Dharani Sutra, AD 750).

China attempted to use movable type but failed due to the number of characters & material: clay.
Korea succeeded in 14th century, establishing a foundry for movable type in bronze, allowing for dismantling & resetting. They created a new phonetic script Han'gul, helping their success.

These events happened decades before the earliest printing of Guttenberg's bible in Europe (1439)

Fig 3.4 Example of movable type (17/10/2025, week 4)

It is important to note that historical influence of old civilizations like Mesopotamia, Indus Valley, China, etc were cast aside to view historical evidence through colonial lenses; posit ideas that were self serving, i.e. Aryan theory.

We need to look inward into eastern developments in handwriting,

Fig 3.5 Evolution of Middle Eastern Alphabets (17/10/2025, week 4)

Fig 3.6 Evolution of Chinese script (17/10/2025, week 4)

Phoenicia (present day Syria, Lebanon, and Israel), is an area that was central in the development of language and writing systems.

Fig 3.7 Phoenicia (17/10/2025, week 4)

The Indus Valley Civilization (IVC) script is the oldest writing found in the 'Indian' subcontinent; 3500-3200 BCE.

No one is coming close to deciphering it and have a logo symbolic nature. The aesthetic of these writings & seals indicate advance and modern civilization (supporting evidence of city planning, drainage, sanitization, etc).

Fig 3.8 IVC script written & in seals (17/10/2025, week 4)

Brahmi script (450-350 BCE) is the earliest writing form in India after the IVC. Scripts in India and hundreds from Southeast & East Asia are derived from this.

The origin for this script is still debated, whether influenced by Semitic scripts or a missing link between this and IVC.

Fig 3.9 Brahmi script (17/10/2025, week 4)

One of the oldest writing system in Southeast Asia is Pallava (Pallawa), a south Indian script used for writing Sanskrit and Tamil. It was influential as the basis of writing system across SEA. Another is also called Pra-nagari.

Fig 3.10 right: Pallava, left: Pra-nagari (17/10/2025, week 4)

Indonesia's indigenous & most important historical script: Kawi. It is a script used to contact other kingdoms can based from Nagari. It's popularity became the basis of script in Indonesia and Philippines. Indonesia has other historical writing systems, like Incung from South Sumatra.

Fig 3.11 Kawi script (17/10/2025, week 4)

Fig 3.12 Incung from Kerinci (17/10/2025, week 4)

The Arabic based alphabet, Jawi was introduced along with Islam. As Hindu societies were caste based, Jawi were taught by missionaries spreading Islam for lower classes that were illiterate.

Jawi is important as it used in all famous literature in Malaysia.

Fig 3.13 Record of Batak slave being sold to a British in Jawi (17/10/2025, week 4)

As designers it is necessary for us to learn our Eastern history & the types of scripts we have to preserve them in digital form; giving an opportunity to record our heritage.

We study this as the first mechanically produced letterforms were designed to imitate handwriting. Understanding the context allows designers to use creativity to produce original designs.

More vernacular & "multi-script" typefaces start to emerge as more Asian programmers and designers are being employed by software giants.

Multi-script: a script that combines Roman letters with vernacular letters.

Fig 3.14 Baloo, available in nine Indian scripts & Latin (17/10/2025, week 4)

Local Movements & Individuals

In Malaysia, murasu.com is made by Muthu Nedumaran who cracked the programming language needed to encode different types of vernacular writing systems.

Huruf is a local group of designers that are interested in localized latin & vernacular letters (painted, signage, inscribed) as inspiration for digitalized typefaces in Malaysia

In India, Ek Type & Indian Type Foundry are organizations that produces vernacular typefaces.

To note, it is important that for a designer to be creative and original, they must look inward and examine their rich history, culture, civilization, and communities. Creativity and inspiration should start from observation & exploration of our collective history.

Week 4: Designing Type

Why do we need to design another typeface?

type design has social responsibility that needs to continue to improve legibility
type design is artistic expression

It's important to note that in type design, the objective has to be clear.

Adrien Frutiger was considered responsible for advancing typography into the digital world. His contribution includes the typefaces; Univers & Frutiger.

Frutiger:

A sans serif typeface designed in 1986 for the Charles de Gaulle International Airport in France. The goal was a clean, distinctive, and legible typeface that is readable from close up & far away.

One of the considerations, the letterform needed to be recognized in poor light condition or when readers are moving quickly. He tested unfocused letterforms to ensure readability.

Fig 4.1 Frutiger (18/10/2025, week 4)

Adrian Frutiger was also invited to India by the National Institute of Design (NID) to design Devanagari into modern typesetting and printing process.

Matthew Carter a son of Harry Carter (Royal Designer for Industry) was responsible for Crosfield's typographic program in 1960s.

Verdana:
Designed in 1996 for Microsoft, it was tuned to be legible in very small sizes on screen due to popularity of the internet & electronic devices.

One of the limitations is that the font is derived from pixels which made characters i,j,l look confusing.

Fig 4.2 Verdana (18/10/2025, week 4)

Bell Centennial:

Designed in 1976 for AT&T, made for telephone books which was printed in rough paper and caused blur. The typeface had ink traps to solve this problem.

Fig 4.2 Bell Centennial (18/10/2025, week 4)

Edward Johnston, the creator of the influential underground London typeface,

Johnston Sans:

Completed in 1916, it was designed as London Underground railway wanted to standardized the typeface used. He was asked to create a font with "bold simplicity".

One of the considerations was that the typeface applied the proportions of Roman capitals. It was rooted in traditional calligraphy but fit modern aesthetic.

Gill Sans which looks similar was designed by his former student and inspired by Johnston Sans.

Fig 4.2 Johnston sans (18/10/2025, week 4)

General Process of Type Design

Research

It is important to understand type history, anatomy, conventions, and terminologies. We also need to determine the purpose and its uses; looking at existing fonts as inspiration/reference.

Sketching

The method you use have an impact on the typeface: doing traditional is slower but can have better control, doing it digitally is quicker and consistent but impede natural hand strokes.

Digitization

The professional software for digitization are FontLab and Glyphs App, some would also use Adobe Illustrator. Attention needs to be given on the form & counter form as they impact readability.

Testing

This stage allows for refining and correcting aspects of the typeface. Prototyping also gives important feedback. Though for display typefaces, expression of the form is more important than readability & legibility.

Deploy

Even after deploying, problems and outside feedback may still come. Which is why rigorous testing & revision still continues upon deployment.

Typeface Construction

Using grids proves to be a possible method to create letterforms, as proven with the construction of the Roman Capital.

It is useful to classify the shape and form of characters that are similar in shape with each other to aid in process of designing.

Fig 4.3 Related forms of 'c' and 'e' (18/10/2025, week 4)

An important visual correction is the extrusion of curved & protruding forms past the baseline. Although correct, it doesn't match visually. Likewise, spacing between letters also needs to have uniform visual white space, not equal spacing.

Fitting/Overshoot: white space between letters should appear the same.

Fig 4.4 'Fitting' or Overshoot (18/10/2025, week 4)

Design Type

There is an intrinsic & extrinsic motivation in designing,

Intrinsic: motivation comes from within or identifying a problem that can be solved by type design.
Extrinsic: a commission, instruction, or request to design a typeface

Ultimately designing typeface is a labor of love and a designer needs to be invested / motivated in their own way.

Instructions

Exercises 1: Typographic Systems

The first week's exercise will have us create 8 layout designs based on the typographic systems that we have just learned from the online lecture. The text that we have to put inside our design are as follows,

The Design School,

Taylor’s University

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

Exploration

I chose to explore Russian Constructivism as the content that I will be exploring as it reminds me of the album covers of the band Franz Ferdinand.

Fig 5.1 Russian Constructivism reference in PureRef (7/10/2025, week 3)

Firstly, I did more research into the style itself and took inspiration on their geometric design elements, layout, as well as color.

As I don't have much time in catching up with the exercises given, I chose to skip the sketching stage and started to work immediately in InDesign with the help of the lecture that was provided.

I made my two designs for each typographic system for my first attempt:

1. Axial System

Fig 5.2 Axial system attempt (10/10/2025, week 3)

Feedback:

The first one is better as the graphic in the second design is too striking. He also advised that the time should use small capitals for a better look.

2. Radial System

Fig 5.3 Radial system attempt (10/10/2025, week 3)

Feedback:

The graphic is good when used to guide or attract viewers to important information. The second one is better.

3. Dilatational System

Fig 5.4 Dilatational system attempt (10/10/2025, week 3)

Feedback:

The graphic on the second design is too distracting, while the first one is a better choice as it leads viewers into the middle.

4. Random System

Fig 5.5 Random system attempt (10/10/2025, week 3)

Feedback:

Both designs are not random enough, but the first design is good.

5. Grid System

Fig 5.6 Grid system attempt (10/10/2025, week 3)

Feedback:

The first one is good.

6. Transitional System

Fig 5.7 Transitional system attempt (10/10/2025, week 3)

Feedback:

The second one is chosen.

7. Modular System

Fig 5.8 Modular system attempt (10/10/2025, week 3)

Feedback:

The professor has made me choose the design myself.

8. Bilateral System

Fig 5.9 Bilateral system attempt (10/10/2025, week 3)

Feedback:

Both are good, but the second one is better with the placement of graphic.

From this week 3 feedback, I chose the final designs and adjusted a few changes as instructed. Here is the final collation of the final design:

Fig 5.10 Compilation of approved final designs (18/10/2025, week 4)

Final Submission: Exercise 1 - Typographic System

Fig 5.11 Final Axial System - JPG (18/10/2025, week 4)

Fig 5.12 Final Radial System - JPG (18/10/2025, week 4)

Fig 5.13 Final Dilatational System - JPG (18/10/2025, week 4)

Fig 5.14 Final Random System - JPG (18/10/2025, week 4)

Fig 5.15 Final Grid System - JPG (18/10/2025, week 4)

Fig 5.16 Final Transitional System - JPG (18/10/2025, week 4)

Fig 5.17 Final Modular System - JPG (18/10/2025, week 4)

Fig 5.18 Final Bilateral System - JPG (18/10/2025, week 4)

Fig 5.19 Final Typographic System Combined - JPG (18/10/2025, week 4)

Fig 5.20 Final Typographic System - PDF (18/10/2025, week 4)

Fig 5.21 Final Typographic System with Grid & Guidelines - PDF (18/10/2025, week 4)

Exercises 2: Type & Play

In this exercise, we are tasked to extract and design a letterform based on a man-made object or something from nature. Based on the brief, it is advised that the image doesn't contain too many different elements.

At first I chose a circuit board as a reference image though after trying to extract any kind of letterforms, they seem a bit rigid and lack character.

Fig 6.1 First extraction attempt (7/10/2025, week 3)

With the general feedback from week 3, I changed my choice for the texture of meat as my reference image as it has more unique characteristics and could produce better results.

Fig 6.2 Second extraction attempt (12/10/2025, week 3)

With this new reference image, I was not satisfied with it either. Both the form and counterform from the letterforms felt like it lacked the characteristics of "meat" that I was looking for. In the end, I finally chose this reference.

Fig 6.3 Meat reference image by Jake Stangel (12/10/2025, week 3)

Fig 6.4 Letter extraction (12/10/2025, week 3)

Luckily enough I planned beforehand and had tried to extract letters that could spell out the word "MEAT" or "MEATY".

Since meat is the main reference I am going for, I tried to find a reference font that was rounded bold & thick. I ended up choosing Bevellier Black as it fit with my objective.

Fig 6.5 Reference font: Bevellier Black (12/10/2025, week 3)

I noticed that as I adjusted the text based on the reference font, I needed to make more adjustments by myself such as rounding off all the corners in each letterform to have consistency, as well as adjusting the thickness of the crevices so that they resemble more closely to the fat fibers of meat.

Fig 6.6 Final adjustment & comparison (12/10/2025, week 3)

Finally this is the final design of the letterform,

Fig 6.7 Final letterform design (12/10/2025, week 3)

Poster Design

After I have made my final letterform design, I needed to use it as the title for the poster design. Since my letterform is extracted from meat and it also spells "meaty", I tried looking for several pictures of meat as the visual element in the poster.

I decided on this image as the clean background and eye catching visual is perfect for the task.

Fig 6.8 Original meat image (13/10/2025, week 4)

Inspired by some of the references I saw online, I extended the background color and added a plastic wrap effect on top of the image to give the illusion of packaged meat.

Fig 6.9 Rough visual with title (13/10/2025, week 4)

Fig 6.3 Credits & secondary texts (13/10/2025, week 4)

To keep simplicity with an already detailed visual, I decide to keep the colors of the poster consist of only pink and reds, this also applies to the credits and other secondary texts.

Fig 6.10 Main colors in the poster (13/10/2025, week 4)

With the addition of small adjustments like blur effects and grain to harmonize all of the elements, here is the final poster design:

Fig 6.11 Main colors in the poster (13/10/2025, week 4)

During week 4's feedback, it seems that both my letterform extraction & poster design was satisfactory for the professor.

Final Submission: Exercise 2 - Type & Play

Fig 6.12 Image & Extraction (18/10/2025, week 4)

Fig 6.13 Extracted letterforms with baseline (18/10/2025, week 4)

Fig 6.14 Reference font: Bevellier Black (18/10/2025, week 4)

Fig 6.15 Refinement process (18/10/2025, week 4)

Fig 6.16 Final letterform with baseline (18/10/2025, week 4)

Fig 6.17 Extracted & Final letterform (18/10/2025, week 4)

Fig 6.18 Final letterform (18/10/2025, week 4)

Fig 6.19 Type & Play Collage - PDF (18/10/2025, week 4)

Fig 6.20 Final Type & Play Poster - JPG(18/10/2025, week 4)

Fig 6.21 Final Type & Play Poster - PDF (18/10/2025, week 4)

Feedback

Week 4:

General Feedback:

This week, Mr. Vinod gave us feedback on our poster design that we have made. His feedback advised us to be careful on the text structure & hierarchy of our secondary texts, credits, & labels. We need to make sure that our letterform title should stand out and readable against any other elements of the poster.

The professor also gave us the final date of submission for "Task 1: Exercise" and emphasized the importance of having the correct format for submission.

Specific Feedback:

For my poster & letterform design, Mr. Vinod remarked that it was good and gave no further feedback during class. As I have just finished the Typographic Systems exercise, the professor also gave his feedback.

He approved most of the designs and have chosen either one from my attempts. Some of the notable comments include: graphic should not be too distracting and have to be purposeful in its placement, numbers of dates and time should also be in small capitals to make it less visually distracting with the names alongside it.

Week 3:

General Feedback:

In my first week of attending the class, Mr. Vinod gave feedback for the other students on Exercise 2: Type & Play. His overall advice was to make sure each letter style stays consistent with one another. Students are also encouraged to be analytical when designing their typeface.

He mentioned that the next task was to make a poster using this exercise as the title.

Specific Feedback:

Since I have yet to do any of the exercises, Mr. Vinod advised me to catch up with the following tasks as there won't be any extension. I started with reviewing the online lectures that have been provided.

Week 1&2 :

Not enrolled in module.

Reflection

Experience

There were definitely complications and moments where I had to rush the exercises during this task. As there was a delay with my credit transfer and module exemption, I was forced to start this module at week 3. This severely limited my learning process as I had to ultimately condense most of the lectures in one week. Not having the first few classes also meant having less feedback time for my work, something that I really needed as someone who is indecisive and value feedback from my lecturer. At the same time, it definitely pushed me to work harder and faster as I normally would.

Ultimately it was a challenge that made me feel more accomplished in the end especially as I did it with the setbacks that I had.

Observation

In the few weeks I did the exercises, I realize that having a good reference and research behind our work can help a lot. This is true during my experience during my typographic systems exercise. It is also important to be flexible and to have trust in my decisions as a designer. Having knowledge isn't useful if we don't ultimately use it in our work. A few times I am met with a decision and choice where I had to decide for myself, especially during letterform extraction. This helped to make me be more confident as a student and aspiring designer.

Findings

As someone who is more familiar with illustrations and paintings, I did not know how vast and rich the history that involves typography is in Asia. The lectures by Mr. Vinod have given me a bigger appreciation for my heritage and Asian culture in general. Throughout most of my design experience, I have rarely heard about specific rules in typography and usually trusted my gut. Within learning and finding new knowledge, I finally understood why some designs stand out over another and why the rules are there in the first place.