Advanced Typography - Task 1: Exercises

21/04/2026 - 12/05/2026 (Week 01 - Week 04)

PHANG QI YU / 0385732

Advanced Typography GCD61004 / Bachelor of Design in Creative Media / Taylors University

Task 1: Exercises (Typographic Systems / Type & Play)

Table of Content

1. Lecture

2. Instructions

3. Process Work

➼ Exercise 1: Typographic Systems

➼ Exercise 2: Type & Play

4. Feedback

5. Reflection

6. Further Reading

LECTURES

Lecture 01: Typographic System

All design is based on structural system, especially the eight typographic system. Each system has its own rules that help organize visuals and create clear information. They may seem hard at first, but with practice they reveal strong creative potential.

8 Typographic System Major Variations:

1. Axial System

All elements are organized on either the left or right of the axis.

2. Radial System

Elements are extended from a point of focus (can be multiple points).

3. Dilatational System

Elements expand from the center in a circular way.

4. Random System

Elements appear to have no specific pattern or relationship.

5. Grid System

A vertical and horizontal division of grids.

6. Modular System

Series of non-objective elements that are constructed as a standardized unit.

7. Transitional System

An informal system of layered banding.

8. Bilateral System

All text is arranged symmetrically.

Figure 1.1

Types of Typographic System

Figure 1.2

8 Typographic System Examples

Lecture 02: Typographic Composition

Most design principles work better in images. They are harder to express in text, but some are easier to explain using words.

1. Principles of Design Composition

Design principles such as emphasis, alignment, repetition, balance, symmetry, and perspective help guide how layouts are organized and created.
In typography, some principles such as emphasis, symmetry, and balance are easier to apply.
For example, as shown in fig 1.3, the principle of emphasis can be used to highlight a phrase or heading, creating a more effective layout. Similarly, symmetry can be applied consistently to maintain visual harmony.
However, principles like repetition and perspective can be harder to apply in typography, though they are still possible to use with some creativity.

Figure 2.1

Example of the Emphasis Principle in Typography

2. The Rule of Thirds

A photographic guide to composition where it suggests a frame can be divided into 3 columns and 3 rows.
The intersecting lines are used to guide where the focal point should be placed.
Rule of Thirds is rarely used in Typography, as there are more favorable options.

Figure 2.2

Rule of Thirds in Typography Layout

3. Typographic Systems

There are 8 major typographic systems introduced in design. The most pragmatic and used system is the Grid System, which is derived from the grided compositional structure of letterpress printing.
It is also known as the Swiss (Modernist) style typography in modern days.
Although it is an old and rigid system, its versatility and somewhat modular nature allow for nearly limitless adaptations.
In reaction to these systems, a group of younger designers begun to question and challenge this notion of order.
A new post-modern typographic system explored chaos, randomness, and asymmetry. While legibility and readability were often secondary, the best examples combined both seamlessly.

Figure 2.3

Design Examples of that challenged the notion

Left: Paula Scher, Middle: Jonathan Barnbrook, Right: David Carson

4. Environment Grid

Inspired by architecture and cultural structures, designers use real-world lines and curves to create layouts, blending decoration with structural design.

Figure 2.4

Example of Using Real-life Image for Text Layout (Brenda McMannus)

5. Form and Movement

Based on the exploration of an existing Grid System.
By breaking away from the strict conventions of grid systems, designers can view the turning pages of a book as a kind of slowed-down animation.
The placement of a form on a page, over many pages (paper or screen) creates movement.

Figure 2.5

Form and Movement Example

Lecture 03: Context and Creativity

Handwriting

The first mechanically produced letterforms were designed to imitate handwriting, which then become the basis/standard. The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them such as sharpened bones, charcoal sticks, plant stems, brushes, feather and steel pens.

Figure 3.1

Evolution of the Latin Alphabet

Cuneiform (3000 B.C.E)

The earliest system of actual writing that evolved from pictograms and was written from left to right.

Figure 3.2 Cuneiform

Hieroglyphics (2613-2160 B.C.E)

The Egyptians' writing system, which is a mixture of both rebus and phonetic characters (first link to a future alphabetic system), and could be used in three different ways:

Ideograms (represent things they actually depict)
Determinatives (signs preceding are meant as phonograms and to indicate the general idea of the word)
Phonograms (represent sounds that "spell out" individual words.

Figure 3.3

Hieroglyphics Chart

Early Greek (5th C. B.C.E)

Built on the Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters. Greek was often read in a format called boustrophedon (or "as the ox plows"). One row would read left to right then switch from right to left. These Greek letters were drawn freehand, not constructed with a compass or rulers, and no serifs. Over time, the strokes of letter grew thicker, the aperture lessened, and serifs appeared.

Figure 3.4

Early Greek Letters

Roman Uncials (4th Century)

Roman letters becoming more rounded, allowing less strokes and faster writing.

Figure 3.5 & 3.6

Roman Uncials

English Half Uncials (8th Century)

In England, the uncials involved into a more slanted and condensed form.

Figure 3.7

English Half Uncials

Carolingian Minuscule (8th C. B.C.E)

During Charlemagne's patronage, book production increased and language was standardized. That includes spelling as well as writing conventions. Capitals at the start of sentences, spaced between words and punctuation. It was used for all legal and literary works to unify communication. This style developed and became the pattern for Humanistic writing in the 15th Century, serving as the basis of the lower-case roman type.

Figure 3.8

Carolingian Minuscule

Black Letter (12-15 C. CE)

Gothic aesthetic. Characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform. Condensing line spacing and letter spacing reduced the number of the costly materials in book production.

Figure 3.9 Black Letter

The Italian Renaissance

As the Gothic style reached its peak in other parts of western Europe, Humanist scholars in Italy were gradually reviving the culture of antiquity. The Humanist admired the Carolingian script, which had clear open handwriting, and so they named the newly rediscovered letterforms, Antica. The Renaissance focus on the analysis of form, applied to art and architecture, was also directed toward letterforms, resulting in a more perfected and rationalized style of writing.

Movable Type (11C.-14C.)

Printing (woodblock) had been practiced in China, Japan, and Korea (Dharani Sutra, AD750). Earliest known printed book (AD868) is the Diamond Sutra. China had attempted movable type for printing but was unsuccessful. Late 14th Century, several decades before the earliest printing in Europe, Koreans establish a foundry to cast movable type in bronze (the dismantling and resetting of text) and succeeded.

Figure 3.10 Movable Type

Brief Eastern Development of Handwriting

Evolution of Middle Eastern Alphabets, even though Phoenician letter is the turning point in written language, the script itself was possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

Figure 3.11

Middle Eastern Alphabets

Evolution of Chinese Scripts

From the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified Script.

Figure 3.12

Evolution of Chinese Scripts

Indus Valley Civilization (IVC) Script (3500-2000 B.C.E)

Oldest writing found in the "Indian" subcontinent is undeciphered and seems to be somewhat logo-syllabic in nature.

Figure 3.13

Indus Vallet Civilization Script

Brahmi Script (450-350 B.C.E)

The earliest writing system developed in India after the Indus Script. It is one of the most influential writings systems, all modern Indian Scripts and several hundred scripts found in Southeast and East Asia are derived from Brahmi.

Figure 3.14 Brahmi Script

Kawi Script (Indonesia's most important historical script)

Based on Nagari, but indigenous to Java. The word comes from Sanskrit term "kavya" meaning poet. It was used to contact other kingdoms, and because it is widespread, it became the basis of other scripts in Indonesia and Philippines.

Figure 3.15

Laguna Copperplate Inscription (Kawi)

Incung

From Kerinci; "tulisan asal" or original writing system, not Jawi.

Figure 3.16 Incung

Jawi Script

Arabic-based alphabet, introduced along with Islam. Ancient Hindu societies were classist and caste-based, where lower classes were illiterate. Islam encouraged teaching for the sake of proselytization (to spread a belief), teaching Jawi to those who cannot read or write. This spread among upper and middle-class in trading ports.

Figure 3.17 Jawi Script

In modern Malaysia, Jawi is important because it's used for all the famous works of literature. Every Hikayat and Malay charm book is written in Jawi.

Programmers and Type Design

Programmers and type designers play an important role in the development of digital typography. In Malaysia, programmer and typographer Muthu Nedumaran developed Murasu.com, enabling the translation and use of various vernacular writing systems on modern devices.

It is important to study handwriting, as all digitized typefaces are derived from it. Today, major software companies such as Google are increasingly supporting vernacular scripts. As a result, more vernacular and multi-script typefaces are being created to meet communication needs across both local and Latin scripts. A multi-script typeface combines English (Latin) letters with vernacular characters.

Creativity and inspiration should begin with observing our surroundings and exploring our collective histories. It is important for designers to look inward, examine the histories, civilizations, and cultural communities, and carry these influences into the future.

"Looking behind gives you context. Looking forward gives you opportunities." 一 Mr. Vinod

Lecture 04: Designing Type

Reasons for designing a typeface by Xavier Dupre (2007):

Type design carries a social responsibility to continue and improve its legibility.
Type design is a form of artistic expression.

Below are 3 different typographers that we can explore on the typeface design's purpose and limitations:

1. Frutiger ー Adrian Frutiger

Figure 4.1 & 4.2

Frutiger

Frutiger is a Sans Serif typeface, designed in 1968, specifically for Charles de Gaulle International Airport in France.
His type includes Univers and Frutiger.
Purpose: To create a clean, distinctive and legible typeface that is easy to see from both close up and far away.
Considerations/Limitations: Letterforms needed to be recognized even in poor lightnings, or when reader is moving quickly.

2. Verdana ー Matthew Carter

Figure 4.3 & 4.4

Verdana Typeface

Designed by Matthew Carter to address specific technical challenges.
Verdana was created by him and was made with Pixels.
Purpose: The fonts was tuned to be extremely legible even at very small sizes on the screen due to the popularity of the Internet and electronic devices.
Considerations/Limitations: The font exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel.

3. Johnston Sans ー Edward Johnston

Figure 4.5 & 4.6

Johnston Sans Typeface

Creator of influential London "Underground" typeface, later known as Johnston Sans (1916).
Asked to create a typeface with "bold simplicity" that was truly modern yet rooted in tradition.
His design combined classical Roman proportions with humanist warmth.
Purpose: London's Underground railway ordered a new typeface for its posters and signage.
Considerations/Limitations: "Johnston's remit was to unite London Underground Group, the different companies all using the same rails and tunnels."

General Process of Type Design:

1. Research

To understand type history, type anatomy, type conventions, terminologies, sidebearing, metrics, hinting, etc.
Determine the purpose and its different applications.
Examine existing fonts for inspiration, ideas, references, context, usage pattern, etc.

2. Sketching

Some designers sketch traditionally (brushes, pens, ink and paper) and proceed to digitization by scanning.
Some use digital tool sets (Wacom, Illustrator); however, this can impede the natural movement of hand strokes at some times.
Both methods have pros and cons.

3. Digitization

Professional software to digitize typefaces (Font Lab and Glyphs App).
Some also used Adobe Illustrator to craft the letterforms.
The importance is not just the form, but the counter form for the purpose of readability.

4. Testing

Important component to refine and correct aspects of the typeface.
Prototyping is also part of the testing process and leads to important feedback.
Readability and legibility of the typeface become important consideration, but not as crucial if it's a display type, with expression of the form being important.

5. Deploy

There are always teething problems that do not appear in the prototyping and testing phases, revision doesn't end at deployment.
Rigour of testing is important so that teething issue remain minor.

Typeface Construction

Figure 4.7

Roman Capital construction with grids

Roman Capital:

The grid consists of a square and a circle that just touches the lines of the square in four places.
In the square, there is a rectangle which is three quarters the size of the square and positioned at the center.
Using grids with circular forms can facilitate the construction of a letterform and is also a possible method to build/design your letterform.

Construction and Considerations

Figure 4.8

Classification according to form and construction

The 26 characters of the alphabet can be grouped by their form and structure into two categories, capital letters and lowercase letters.
Many different forms/constructions must be taken into account when designing a new type. An important visual correction is the extrusion of curved forms past the baseline and cap line. This also applies to vertical alignment between curved and straight forms.
Distance between letters, it's not possible to place letters next to each other with equal spacing; the letters must be altered to a uniform "visual" white space. The white space between letters should appear the same, called "fitting" the type.

Figure 4.9

Example of fitting

Lecture 05: Perception and Organization

What is perception in typography?

Perception in typography: Deals with visual navigation and interpretation of the reader via contrast, form and organization of the content. Content can be textual, visual, graphical or in the form of color.

Contrast

It is important to use contrast to distinguish between information. Below the fig 1.33 is Rudi Ruegg's concept of typographic contrast.

Figure 5.1

Methods of Contrast by Rudi Ruegg

In Addition, there are 7 types of typographic contrast by Carl Dair:

➤ Size: The reader's attention is drawn to the bigger letter first before the smaller letter; most common usage is in a title/heading.

Figure 5.2 Contrast in Size

➤ Weight: Describe how bold type can stand out in the middle of lighter type of the same style; using rules/spot/squares also provide a "heavy area" for a powerful visual attraction or emphasis.

Figure 5.3 Contrast in Weight

➤ Form: The distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant; condensed and expanded versions of typeface are also included.

Figure 5.4 Contrast in Form

➤ Structure: The different letterforms of different kinds of typefaces. Example: A Monoline Sans Serif and a Traditional Serif, or an Italic and a Blackletter.

Figure 5.5 Contrast in Structure

➤ Texture: Refers to the way lines of type look as a whole up close and form a distance. Created by putting the contrasts of size, weight, form, and structure together.

Figure 5.6 Contrast in Texture

➤ Direction: Opposition between vertical and horizontal, and the angles in between. Text blocks have their vertical or horizontal aspects of direction, mixing wide blocks of long lines with tall columns of short line can create contrast.

Figure 5.7 Contrast in Direction

➤ Color: The use of color is suggested that a second color is often less emphatic in values than plain black and white.

Figure 5.8 Contrast in Color

The 2 Functions of Typography:

To represent a concept
To represent a concept in a visual form

Presenting type as a visual form highlights the unique characteristics of letterforms and their abstract qualities. Below are some examples of effective combinations of typographic forms:

Figure 5.9 Examples of combinations

The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into space.

Below are some examples of how form and communication come together:

Figure 5.10

Examples of Form and Communication (Lecture's Slides)

Organization/Gestalt

Gestalt is a German word, meaning the way a thing has been "placed" or "put together."
Gestalt psychology is to understand the laws behind the ability to acquire and maintain meaningful perceptions.
Gestalt theory emphasizes that the whole of anything is greater than its part ーbased on the idea that the things we experience are a unified whole.

Perceptual Organization/Groupings

1. The Law of Similarity: States that elements that are similar to each other tend to be perceived as a unified group.

2. The Law of Proximity: States that elements that are close together tend to be perceived as a unified group.

3. The Law of Closure: Refers to the mind's tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to form a complete picture in our mind is missing.

4. The Law of (Good) Continuation: Says that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect.

5. The Law of Symmetry: States that when humans perceive objects, they tend to see them as symmetrical shapes that form around their center.

6. The Law of Simplicity (Pragänz): Core concept in Gestalt psychology. When humans are presented with a complex or ambiguous objects, our brains will make them as simple as possible.

Figure 5.11

Gestalt Principles of Grouping

INSTRUCTIONS

PROCESS WORK

Task 1: Exercise 1 - Typographic Systems

In the first exercise, we needed to study and explore 8 of the typographic systems as learned in Lecture 01. The systems are Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral. We would explore this by creating artwork using the same information but following each different system. Also, we are only allowed to use the 10 fonts provided.

We are also instructed to watch 2 tutorial videos, InDesign Formatting and an example for the modular system to refresh our memory in using InDesign, and to understand more on what needs to be done.

Size: 200 x 200 mm
Colors: Black and additional color
Minor graphical elements

Below are the content details to be used in this exercise:

The Design School,
Taylor’s University

All Ripped Up: Punk Influences on Design

The ABCs of Bauhaus Design Theory

Russian Constructive 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

We could choose which headline we wanted from the three options listed above, and I decided to go with All Ripped Up: Punk Influences on Design. In addition, as mentioned, we had the option to add another color alongside black and white to make the artwork stand out more. I chose blue because it contrasts well with black and white, and blue it also my favorite color!

1. Exploring & Experimenting

I decided to start this task by developing rough idea sketches for each typographic system. Then, I applied them in InDesign. I explored a variety of ideas and sketched them using my own layout. Below are the sketches of the 8 typographic systems.

Sketches:

Figure 6.1

Rough Sketches Ideas - Week 1 (21/04/26)

#1 Axial System Progress:

Figure 6.2

Axial System Spread Draft Attempts - Week 1 (21/04/26)

Figure 6.3

Axial System Spread Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bodoni Std (Bold Condensed), and Bembo Std (Italic and Semibold)
Middle: Gills Sans Std (Ultra Bold and Regular), Bodoni MT (Condensed Bold Italic), and ITC New Baskerville Std (Bold Italic and Bold)
Right: Janson Text Lt Std (75 Bold), Gills Sans MT (Regular), Gills Sans Std (Regular), and Univers LT Std (67 Bold Condensed)

The figure above shows three different layouts of the axial system. Firstly, I decided to go straight into InDesign for layout testing and experimentation, as it allows me to make changes instantly and see if they suit my preferences. I followed Mr. Vinod’s InDesign tutorial video and began trying out different layouts. Since there are many fonts available, I experimented multiple times to choose the ones I felt were most suitable for the systems layout.

#2 Radial System Progress:

Figure 6.4

Radial System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.5

Radial System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bodoni Std (Roman and Bold Condensed), Janson Text LT Std (75 Bold), ITC New Baskerville Std (Bold)
Middle: Bembo Std (Regular), Janson Text LT Std (75 Bold), Gill Sans MT (Bold), and Univers LT Std (57 Condensed)
Right: Gills Sans Std (Bold), Gills Sans MT (Bold and Bold Italic), and Univers LT Std (95 Extra Black Extended)

For the radial system, I found it quite challenging at first because I didn’t know how to place text along a circle. However, I later realized there wasn’t a specific technique involved I just needed to type and adjust the text manually. The text in a radial system should follow a slight curve and not be arranged too neatly. I experimented with and explored many different approaches for this system.

#3 Dilatational System Progress:

Figure 6.6

Dilatational System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.7

Dilatational System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bembo Std (Regular and Extra Bold), Janson Text LT Std (75 Bold), and Bodoni MT (Poster Compressed)
Middle: Bembo Std (Regular and Bold)
Right: Bembo Std (Extra Bold and Regular), Bodoni Std (Book), and Janson Text LT Std (75 Bold)

The dilatational system is where I started to struggle. I had no clear idea how to approach it and was worried that my layout might be incorrect. Although I could understand the concept in theory, I felt confused when it came to applying it. I also had difficulty placing text in a curved or arc shape, so I searched online and learned how to use the Type on a Path Tool! This was important because the text needs to follow a circular motion. After several attempts, I was finally able to develop an idea, and a second idea also came to mind.

#4 Random System Progress:

Figure 6.8

Random System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.9

Random System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bodoni Std (Bold Condensed and Bold), Bodoni MT (Black Italic), and Univers LT Std (59 Ultra Condensed, 57 Condensed, and 57 Condensed Oblique)
Middle: Janson Text LT Std (76 Bold Italic), Bembo Std (Semibold, Roman, Book, and Extra Bold), Bodoni MT (Regular and Black Italic), ITC New Baskerville Std (Bold)
Right: Janson Text LT Std (75 Bold), Bodoni Std (Poster Compressed, Book, Regular, Bold, and Roman), Bodoni MT (Black)

Working on the random system was the most fun, as I could explore creatively without being restricted by strict rules or layouts. I came up with some interesting ideas for this system. As you can see, I used a variety of fonts to make the design feel more dynamic and engaging rather than dull. However, I am a bit concerned about whether it will be approved by Mr. Vinod. Even though it is called a random system, I feel that my design might not be as strong as others. Still, I tried my best!

For the third design in the middle (Fig.13), I tried to make it look like torn or ripped paper. I thought this would give it a more playful and dynamic feel. However, I feel that I may have weakened the design in the number section, as I was unsure how to place it in a way that is clear and easy for the viewer to read.

#5 Grid System Progress:

Figure 6.10

Grid System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.11

Grid System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Gills Sans Std (Ultra Bold), Bodoni MT (Condensed Bold and Regular), and Bodoni Std (Bold)
Middle: Bodoni MT (Condensed Bold), Bodoni Std (Bold Italic, Book, and Poster), and Gill Sans Std (Regular)
Right: Bodoni Std (Roman), Bodoni MT (Condensed Bold Italic, Condensed Bold, and Bold), and ITC New Baskerville Std (Bold Italic)

I think grid systems work quite well for me. Although they look simple, I feel comfortable using them. I personally prefer the left and middle layouts, as I’m more confident with both.

#6 Modular System Progress:

Figure 6.12

Modular System Grid Screenshot - Week 1 (21/04/26)

Figure 6.13

Modular System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.14

Modular System Spreads Draft Attempts - Weel 1 (21/04/26)

Fonts Used:
Left: ITC New Baskerville Std (Bold), Bodoni Std (Poster, Bold Condensed and Bold), and Janson Text LT Std (55 Roman)
Middle: Univers LT Std (75 Black and 55 Roman) and Bodoni MT (Regular)
Right: Bodoni MT (Condensed Bold, Condensed Bold Italic and Bold), Bembo Std (Semibold and Extra Bold)

I feel that the modular system is quite similar to the grid system, but definitely more challenging. It requires fitting content into a fixed number of units, which feels a bit limiting and less flexible for what I want to do. I’m also not entirely sure if what I’ve done is correct.

#7 Transitional System Progress:

Figure 6.15

Transitional System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.16

Transitional System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bodoni Std (Bold and Bold Condensed), ITC New Baskerville Std (Roman), and Univers LT Std (67 Bold Condensed Oblique)
Middle: Bembo Std (Semibold and Bold), ITC New Baskerville Std (Bold and Roman)
Right: Bodoni MT (Condensed Bold and Bold), Bembo Std (Semibold, Bold, and Bold Condensed), ITC New Baskerville Std (Bold), and Univers LT Std (67 Bold Condensed Oblique)

The transitional system is really fun to work with. I feel more creative and have more ideas when using it. I personally like the third layout the most, I tried to make it more dynamic by creating a stronger sense of movement and flow. For the first layout, I was inspired by a senior’s work and aimed to create a similar flow while adding some of my own style.

#8 Bilateral System Progress:

Figure 6.17

Bilateral System Spreads Draft Attempts - Week 1 (21/04/26)

Figure 6.18

Bilateral System Spreads Draft Attempts - Week 1 (21/04/26)

Fonts Used:
Left: Bembo Std (Regular, Semibold, and Semibold Italic) and Gill Sans Std (Extra Bold)
Middle: Bodoni MT (Bold, Extra Bold, and Bold), Janson Text LT Std (76 Bold Italic), and Bodoni Std (Semibold Italic)
Right: Bodoni MT (Poster Compressed, Black, and Italic), Bold Std (Bold, Bold Condensed, Book, and Semibold), and Janson Text LT Std (75 Bold)

2. Feedback

After a feedback session with Mr. Vinod, there were some adjustments to be made. Below is the feedback from Mr. Vinod for each layout:

Axial System: Mr. Vinod chose the best axial system out of the three I created. The one he selected worked much better than the other two.

Radial System: It’s okay. Mr. Vinod said he was quite interested in one of the radial system layouts. He mentioned that one of the designs looked like something from Star Wars, HAHA.

Dilatational System: Mr. Vinod said that two of the designs I created are good, and I can choose either one as my final.

Random System: Mr. Vinod said my random system is not random enough. He suggested making it more chaotic and pushing it to be more creative.

Grid System: Everything is fine.

Modular System: He said my layout is okay, but I need to ensure the text units are consistent. If I double up the units, they must remain the same as well.

Transitional System: Everything is great. He chose the best one for me out of the three I created.

Bilateral System: Mr. Vinod said my graphical elements are too much. I may need to delete some elements and make it easier to see whether the layout improves.

3. Fixing / Readjustment

After receiving feedback from Mr. Vinod, I am going to improve my work. Below are the before and after versions of each system that needs to be adjusted.

Random System Adjustment: Before & After

Figure 7.1

Revised Random System (Before & After) - Week 1 (21/04/26)

For the random system, I think the left and bottom parts of the first version were already good, but the right side was not very interesting. So, I made it more creative and different. I changed it into a messy layout, with letters placed around the blue corner. It looks like the book is torn, and the letters inside can be seen.

Grid System Adjustment: Before & After

Figure 7.2

Revised Grid System (Before & After) - Week 2 (21/04/26)

For the grid system, I adjusted the placement of the date numbers following Mr. Vinod’s strict feedback. He advised us not to stack the date numbers vertically, above and below, as work presented this way will not be graded.

Modular System Adjustment: Before & After

Figure 7.3

Revised Modular System (Before & After) - Week 1 (21/04/26)

I adjusted the units of the central rectangular shape. In the earlier version, the rectangle did not follow a consistent unit size, so I made it consistent.

Bilateral System Adjustment: Before & After

Figure 7.4

Revised Bilateral System (Before & After) - Week 1 (21/04/26)

For the bilateral system, there was not much to change except the graphics. I removed the blue background because it affected the readability. After making these changes, it looks better than before.

Final Outcome: Typographic System

Figure 8.1

Final Axial System (JPEG) - Week 1 (21/04/26)

Figure 8.2

Final Radial System (JPEG) - Week 1 (21/04/26)

Figure 8.3

Final Dilatational System (JPEG) - Week 1 (21/04/26)

Figure 8.4

Final Random System (JPEG) - Week 1 (21/04/26)

Figure 8.5

Final Grid System (JPEG) - Week 1 (21/04/26)

Figure 8.6

Final Modular System (JPEG) - Week 1 (21/04/26)

Figure 8.7

Final Transitional System (JPEG) - Week 1 (21/04/26)

Figure 8.8

Final Bilateral System (JPEG) - Week 1 (21/04/26)

Figure 8.9

Final 8 Typographic System (JPEG) - Week 1 (21/04/26)

Figure 8.10

Final 8 Typographic System (PDF Without Grids & Guides) - Week 1 (21/04/26)

Figure 8.11

Final 8 Typographic System (PDF With Grids & Guides) - Week 1 (21/04/26)

Task 1: Exercise 2 - Type & Play

In this next exercise, we are required to create a typeface inspired by elements from nature (such as the human, landscapes, leaves, plants, bushes, clouds, hills, rivers, etc.) or human-made objects (like chairs, glass, and more). The objective is to design a typeface that captures and reflects the distinctive characteristics of the chosen object. After developing the typeface, we will apply it to a movie poster design. The image selected for the poster must be related to the chosen element and should create a symbolic connection between the visual imagery and the letterforms.

Part 1: Finding/Creating Type

a) Finding an Image

For Part 1, we are tasked with analyzing, dissecting, and identifying potential letterforms (five letters only) within a chosen image of a subject.

Use either uppercase or lowercase letters only.

Could choose more than the 10 typefaces provided.

Chosen Image:

Figure 9.1

Reference Image of Tree Bark - Week 2 (28/04/26)

Click to View Image Source

I chose this image of tree bark because I found the flow of its lines really interesting, along with how the textures connect and interact with each other. The letters I found were H, F, T, J, L, W, and P.

b) Identifying Letterforms

The next step was to dissect the image and identify where the letters appear. The image on the left shows the dissected version, while the image on the right highlights the letters I found.

Figure 9.2

Identifying Potential Letterforms - Week 2 (28/04/26)

c) Tracing and Extracting Lettes

I used the Pen Tool to trace the image, trying to preserve as much of its detail as possible. Also, lowering the opacity of the original image for better visibility during the process.

Figure 9.3

Extracted Letterforms (H, F, T J, L, W, and P) - Week 2 (28/04/26)

Figure 9.4

Letterforms Extraction - Week 2 (28/04/26)

d) Identifying Reference Font

Before beginning the letter refinement process, we were required to choose a reference typeface to guide us in establishing a central direction for the refinement. We were allowed to select from more than the 10 typefaces provided. I chose Chiller Regular as my reference typeface because I noticed some similarities between it and my extracted letterforms, especially the letters F and P.

Figure 9.5

Letterforms Reference - Week 2 (28/04/26)

e) Refining Letterforms

Now comes the stage of refining the letterforms. I developed a process of 6 refining steps. At the beginning, my focus was on bringing the letters into more natural, balanced shapes. The first step was adjusting their width and height, so they aligned properly with the baseline and cap line. Next, I refined the stroke thickness to ensure consistency, reducing any unevenness and giving the forms a cleaner, more cohesive appearance.

Figure 9.6

Creating the Rough Shape (Step 1-3) - Week 2 (28/04/26)

Next, I overlaid the reference font behind the letterforms at low opacity. This made it easier to compare the two and clearly identify which areas needed further refinement and adjustment.

Figure 9.7

Comparing to Reference Font (Step 4) - Week 2 (28/04/26)

In this step, I began refining the stroke width and alignment to achieve greater consistency. I worked on matching the letterforms more closely to my reference font while preserving its distinctive details, such as the slightly sharp edges and subtle bark-like elements. Below is my first attempt.

Figure 9.8

Working on the Details (Step 5) - Week 2 (28/04/26)

Figure 9.9

First Attempt - Week 2 (28/04/26)

In the second attempt, I refined the letterforms further by focusing on the edges and proportions. Unlike the first attempt, which mainly added sharp details, this step involved improving the overall size and shape to achieve better balance and consistency. I should also mention that I readjusted the shape of the letter “P.” In the first attempt, I mistakenly changed its original form from the reference font. In the second attempt, I fixed it.

Figure 9.10

Second Attempt - Week 2 (28/04/26)

In the final refining step, I noticed that the tree bark pattern was inconsistent, some letters had too little, while others had too much. I made slight adjustments to balance these details and ensure consistency across all the letterforms. Through this process, the letterforms began to better reflect the natural qualities of tree bark, creating a more elegant overall appearance.

Figure 9.11

Final Refinement (Step 6) - Week 2 (28/04/26)

Below are all the steps of refining the letterforms:

Figure 9.12

Letterform Refinement Process Steps - Week 2 (28/04/26)

f) Feedback

After receiving Mr. Vinod’s feedback, I was advised to add stronger stroke stems and focus on incorporating the structure more clearly. The structure should be fully integrated into the design, with its characteristics representing the overall image. The connections within the structure also need to be clearly shown. Below, I am going to add the structure of the tree bark.

Figure 9.13

Refined Letterforms (Structure Added) - Week 3 (05/05/26)

Figure 9.14

Letter H - Week 3 (05/05/26)

Figure 9.15

Letter F - Week 3 (05/05/26)

Figure 9.16

Letter T - Week 3 (05/05/26)

Figure 9.17

Letter J - Week 3 (05/05/26)

Figure 9.18

Letter L - Week 3 (05/05/26)

Figure 9.19

Letter W - Week 3 (05/05/26)

Figure 9.20

Letter P - Week 3 (05/05/26)

Final Outcome of Part 1

Figure 10.1

Reference Image and Extraction - Week 3 (05/05/26)

Figure 10.2

Overall Refining Steps - Week 3 (05/05/26)

Figure 10.3

Reference Font (Chiller Regular) - Week 3 (05/05/26)

Figure 10.4

Extracted Letterforms - Week 3 (05/05/26)

Figure 10.5

Final Letterforms - Week 3 (05/05/26)

Figure 10.6

Original Extracted and Final Letterforms Comparison - Week 3 (05/05/26)

Figure 10.7

Final Finding/Creating Type (PDF) - Week 3 (05/05/26)

Part 2: Movie Poster

In Part 2, we had to create a movie poster showcasing our final letterforms, using the background image of the object we chose as reference. The size of movie poster is 1024px x 1024px, export it as JPG 300ppi.

a) Process

First, I needed to find a suitable high-resolution image of tree barks. We are allowed to adjust the color of the image for the poster, but the main focus is on the letterforms, which are the highlight of the movie poster rather than the image. I found three images for my movie poster. The one on the left gives a softer, more comfortable feeling, while the other is a typical tree bark image with visible structure. The third one gives a sense of consistency, and using a single color makes the overall image look visually appealing.

Figure 11.1 & 11.2 & 11.3

Movie Poster Inspirations - Week 3 (05/05/26)

Left: Image Source Right: Image Source Bottom: Image Source

I decided to choose the second image on the right, which features a typical tree bark texture. I believe it represents the concept better and allows me to create a more effective horror-themed movie poster. The black-and-white grayscale effect also enhances the visibility of the title because it creates a stronger contrast compared to the first image. However, I was also considering the third image, as both the second and third images are visually strong and give different feelings. Both create strong contrast, but for now, I would choose the second image as my first option.

Figure 11.3

Chosen Image - Week 3 (05/05/26)

I then began importing my letterforms. Since I decided to create a horror-themed poster, I chose to change the font color to red to resemble blood. For the title, I decided to use “FLWTP.” It’s not an actual word, but I created it to give the movie a unique and mysterious identity.

Figure 11.4

Arranging Movie Poster Title - Week 3 (05/05/26)

Then, I added my name to the poster, placing it above the title in a white color scheme to improve legibility and create contrast with the title. I also selected a few movie production logos and incorporated them into the poster. I used Image Trace to convert the PNG logos and the credits/producer text I found online, placing them at the bottom of the poster.

Figure 11.5

Process of Movie Poster (Adobe Illustrator) - Week 3 (05/05/26)

Here, I experimented with different placements of the text and logos to find the most effective layout, ensuring that the “FLWTP” title is large enough to stand out on the poster. Below shows the outcome of my movie poster so far.

Figure 11.6

Initial Movie Poster - Week 3 (05/05/26)

b) Adjustments

After this week’s consultation, Mr. Vinod suggested that I darken the text because the readability is quite low. He also mentioned that the “In Cinema Soon” text could be changed to another color, as the red color is a bit difficult to read. In addition, he suggested that I could try using a gradient color for the background. Mr. Vinod also pointed out that the middle section of my movie poster looks a little empty, so I need to find a solution to improve the composition and make the design feel more balanced.

I decided to lower the opacity of the background color to make the text in my movie poster more visible and easier to read. I also added a shadow to the movie title, which helps improve its visibility and allows the text behind it to remain readable. In addition, I moved the title to the center, which helps solve the issue of the middle space feeling empty and improves the overall balance of the composition.

Other than that, I also used another method by adjusting the text with a darkened background. I added a very light black gradient rectangle behind the text and reduced the opacity to improve readability. I also considered changing the text to a semi-bold font, but Mr. Vinod mentioned in class that since these are not the main elements, they should not be in bold. Below is the before and after of my adjustments to the movie poster.

Figure 11.7 & 11.8

Before and After Comparison - Week 5 (12/05/26)

Final Outcome of Part 2

Figure 12.1

Final Movie Poster (JPEG) - Week 4 (12/05/26)

Figure 12.2

Final Movie Poster (PDF) - Week 4 (12/05/26)

FEEDBACK

Week 01:

✦ Specific Feedback: No specific feedback this week.

✦ General Feedback: Mr. Vinod explained the module booklet, including the rules and instructions, and briefed us on completing the 8 typographic systems in InDesign by Week2. Mr. Vinod asked us to watch the lecture video and follow the instructions to understand each system.

Week 02:

✦ Specific Feedback: Mr. Vinod reviewed my exercise progress and pointed out several mistakes for me to correct. He noted that I performed well in some of the systems, but others could be improved. He specifically mentioned that my random system was not sufficiently random, so I will work on enhancing it further.

✦ General Feedback: Mr. Vinod provided feedback to each student on their progress in Task 1. He highlighted several common mistakes and advised us to avoid them. He also taught us techniques for selecting and using suitable fonts effectively. In addition, he briefed us on Exercise 2 and shared examples to guide us on what we should do.

Week 03:

✦ Specific Feedback: Mr. Vinod mentioned that my work lacks the structure of my chosen image. The entire structure should be incorporated into the letter, and its characteristics should represent the overall image. I need to include more details of the tree bark in my letterforms, such as the lines and textures of the bark.

✦ General Feedback: For this week’s class, Mr. Vinod emphasized the importance of learning to observe different things, as observation is key. He reviewed everyone’s Exercise 2 progress and provided feedback, pointing out some common mistakes and asking us to correct them. Then, we were asked to create a movie poster using the letterforms we had developed.

Week 04:

✦ Specific Feedback: Mr. Vinod said that my movie poster is actually quite good, but he suggested that I try darkening some of the text colors. He also highlighted that I could use wide net for my movie poster, which could make the overall design look better. In addition, I could experiment with lowering the opacity of the text or adding shadows to make the text stand out more and improve the overall appearance of the poster.

✦ General Feedback: In today’s class, we discussed every student’s movie poster progress. Mr. Vinod mentioned that white color does not always work well in a design. He said that the main focus of a movie poster should be the title, not only the image. He also explained that reading rhythm is important, and the information should not look too crowded or congested. According to Mr. Vinod, proximity can create tension when elements are placed too close together. He also said that putting too many good things together in one design can become a bad thing.

REFLECTIONS

Experience

In Exercise 1, I found it quite challenging because I am not familiar with some typographic systems, such as the modular system and the grid system. I am not very clear on the differences between them. I also struggled to choose suitable fonts and font sizes for each system. Additionally, the time given for this exercise was quite short, so I felt rushed and worried that I wouldn’t be able to finish it in time. But overall, after finishing this exercise, I now have a better understanding of the 8 typographic systems, and Mr. Vinod taught us many useful tips.

In Exercise 2, Part 1, I found the process more fun and interesting compared to Exercise 1. It gave us the opportunity to observe our surroundings and discover hidden letterforms within everyday objects, which made the task enjoyable. I initially struggled to choose a suitable reference image but eventually selected tree bark because I found its texture interesting. At first, I felt confident about the letterforms I created. However, I later realized that they had lost some of the representative elements from the original reference. My classmates produced strong work, and I asked a few of them about their process while also seeking feedback on my progress. I think the most challenging part was maintaining the characteristics of the typeface while staying true to the original subject. Balancing the visual elements with typographic rules made the task quite difficult. Moving on to Part 2, I encountered some challenges again when choosing an image for the movie poster. I was unsure which image would be the most suitable, so I asked for opinions from several friends. However, I found Part 2 more relaxing compared to Part 1. In Part 1, I was worried about not being able to complete the work on time, which made me feel anxious. On the other hand, designing the movie poster was more enjoyable. I learned how to arrange the title effectively and include logos into the overall design.

Overall, this task taught me a lot and helped improve my self-discipline. I would describe it as a challenging but enjoyable experience.

Observations

Observation is key. I remember Mr. Vinod mentioning this to us, emphasizing that we should observe more in order to understand more. In Exercise 1, I learned that spacing and color choices play a significant role in the final outcome of a composition. I needed to ensure that the spacing between elements was carefully considered and that the color choices were visually comfortable and easy on the eyes.

In Exercise 2, I noticed that it was easy to unintentionally rely too heavily on the selected reference font. I needed to be mindful of this and find a balance during the refinement process. I also realized that composition and color choices are crucial in poster design, as they can greatly affect the overall impact of the work.

Through this task, I observed not only my own work but also my classmates’ work, including their attention to detail, design choices, and techniques. These observations helped me learn and gain more knowledge from them. Observation is extremely important in design, and by learning to observe more carefully, I can continue to improve and learn more effectively.

Findings

Exercise 1 taught me how to combine composition and creativity to create expressive and unique layouts. We were allowed to use our own ideas while still following typographic systems to produce different compositions. Through this exercise, I learned that it is always good to explore ideas, no matter how simple or unusual they may seem, because one of them could turn out to be something special.

In Exercise 2, I found that there are many different fonts and type styles waiting for us to explore. Many objects/subjects in our daily life can also hide unique letterforms that we may not notice at first. It is interesting and fun to discover the characteristics of these objects/subjects and turn them into fonts.

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Phang Qi Yu (0385732)