ADVANCED TYPOGRAPHY : TASK 1 EXERCISES

Typographical organization are dependent on communication in order to function. As a designer it is important to bring communication right at the forefront of that form. Additional criteria such as hierarchy, order of reading, legibility, and contrast also come into play.

Fig 1.1: Example of Axial, Radial, Dilatational, and Random system, Week 1 (23/04/2025).

1. Axial System : all elements are organise to the left or right of a single axis.

2. Radial System : all elements are extended from a point of focus.

3. Dilatational System : all elements expand from a central point in a circular fashion.

4. Random System : elements have no specific pattern or relationship.

Fig 1.2: Example for Grid, Modular, Transitional, and Bilateral system, Week 1 (23/04/2025).

5. Grid System : vertical and horizontal divisions

6. Modular System : series of non-objective elements that are constructed in as a standardised units.

7. Transitional System : an informal system of layered banding.

8. Bilateral System : all text is arranged symmetrically on a single axis.

Lecture 2 : Typographic Composition

Principles of Design Composition :

Emphasis

Fig 1.2.1: Example for emphasis in typographic composition, Week 2 (29/04/2025).

Isolation
Repetition
Symmetry & Asymmetry
Alignment
Perspective

The rule of thirds

A frame that can be divide into 3 columns and 3 rows. The intersecting lines are used as guide to place the points of interest.

Fig 1.2.2: Example of the rule of thirds, Week 2 (29/04/2025).

Typographic Systems

From 8 systems, the most used system is the Grid system, which is derived from the grided compositional structure of Letter Press printing. It is now known as The Swiss (modernist) style of Typography.

Other models / Systems

Environmental Grid

exploration of an existing structure or numerous structures combined.

Fig 1.2.3: Example of Environmental Grid, Week 2 (29/04/2025).

Form and Movement

This system is based on the exploration of an existing Grid Systems, to dispel the seriousness surrounding the application of the grid system; and to see the turning of pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and color. The placement of a form on a page, over many pages creates movement.

Fig 1.2.4: Example for Form and Movement, Week 2 (29/04/2025)

Lecture 3 : Context & Creativity

Handwriting

It is important because the first mechanically produced letterforms were designed to directly imitate handwriting. Handwriting becomes the basic standard for form and spacing. The shape and line of hand drawn letterforms are influenced by the tools and materials used to make them.

Fig 1.3.1: Evolution of the Latin Alphabet, Week 3 (07/05/2025).

1. Cuneiform

Fig 1.3.2: Example of Cuneiform, Week 3 (07/05/2025).

The earliest system of actual writing
Its distinctive wedge form was the result of pressing the blunt end of reed stylus into wet clay tablets.

2. Hieroglyphics

Fig 1.3.3: Hieroglyphics chart, Week 3 (07/05/2025).

The egyptian writing system is fused with the art of relief carving. The system was a mixture of both rebus and phonetic characters. It can be used in three different ways:

1. As ideograms --> represent things they actually depict.

2. As determinatives to show the signs are meant as phonograms.

3. As phonograms to represent sounds that "spell out" individual words.

3. Early greek

Egyptian logo consonantal system, the Phoenicians developed a phonetic alphabet.

4. Roman Uncials

Letters become more rounded, the curved form allowed for less strokes and written faster.

5. English Half Uncials

Letters evolved into a more slanted and condensed form.

6. Emperor Charlemangne

Breakdown of handwriting into diverse regional style.

7. Black letter

Gothic was the culminating artistic expression of the middle ages, Italian who use it refer to rude or barbaric cultures. Gothic writing forms reflected this aesthetic.

8. The Italian renaissance

Humanist scholars in Italy were slowly reviving its culture of antiquity, it embrace the ancient greek and roman culture spurred a creative wave through letter form design.

9. Movable type

Printing wood block famous in China, Korea, Japan. This innovation was pioneered in China but achieved in Korea. The Koreans establish a foundry to cast moveable type in bronze.

Why do we talk about Greek influence on Rome, but not Egyptian or near Eastern influence on Greece?

In the 19th century the rise of the modern British Empire, it became out of style to credit Africa or Africans with anything of value, and therefore Greece and Rome were elevated over much older, much more influential civilizations, specifically Ancient Egypt, but also less extensive or old civilizations like Mesopotamia, the Indus Valley, China, etc.

The recognition of the importance of these historical letterforms is something to be admired and learned from.

Eastern development in handwriting:

Fig 1.3.4: Evolution of Middle Eastern alphabets, Week 3 (08/05/2025).

Fig 1.3.5: The evolution of the Chinese script, Week 3 (08/05/2025).

Fig 1.3.6: The Indus valley civilization Script, Week 3 (08/05/2025).

The Brahmi script is the earliest writing system developed in India after the Indus script, the most influential writing systems.

Fig 1.3.7: The Brahmi Script, Week 3 (08/05/2025).

The oldest writing system in southeast Asia is Indian Scipts. The most important would be Pallava, a south Indian script originally used for writing Sanskrit and Tamil.

Programmers and Type Design

Fig 1.3.8: The multi-script, Week 3 (08/05/2025).

Multi-script typefaces coined by Muthu Nedumaran, it helps communication in the vernacular script or vernacular and latin scripts.

Local Movements and Individuals

Huruf, a local group of graphic designer interested in the localized latin lettering of latin and vernacular letters painted or inscribed on walls and signages revitalizing typefaces in Malaysia.

Lecture 4 : Designing Type

Why design another typeface?

Carries a social responsibility, must continue to improve its legibility.
a form of artistic expression

1. Frutiger (Adrian Frutiger)

Fig 1.4.1: Frutiger font, Week 4 (14/05/2025).

A sans serif typeface designed by Swiss type designer in 1968 for the newly built Charles de Gaulle international Airport in France.

The purpose was to create a clean distinctive and legible typeface that is easy to see both close up and far away.

2. Verdana ( Matthew Carter)

Fig 1.4.2: Verdana font, Week 4 (14/05/2025).

The purpose of this font is tuned to be extremely legible even at very small sizes on the screen.

The font exhibit characteristics derived from the pixel rather than the pen, the brush or the chisel.

3. Johnston Sans ( Edward Johnston)

Fig 1.4.3: Underground typeface, Week 4 (14/05/2025).

He was asked to create a "bold simplicity" typeface and he combine classical Roman proportion with humanist warmth.

The purpose because London's underground railway ordered a new typeface for its poster and signage from him.

General process of Type design :

1. Research

understand Type history, anatomy, and type conventions
type purpose, what it would be used for, what different applications it will be used
examine existing font that presently being used for inspiration/idea/references

2. Sketching

can be sketch using traditional tools or digital tool, depends on the designer preferences.

3. Digitization

need to put attention at this stage, the readability dependent on it.

4. Testing
important component in design thinking process, the results of testing is part of refining and correcting aspect of typeface.

5. Deploy

after deploying a completed typeface, there are always teething problems during the prototyping and testing phase.

Typeface construction

Roman capital

Fig 1.4.4: Roman capital using 8x8 square, Week 4 (14/05/2025).

The grid consists of a square, and inside it a circle that just touches the lines of the square in four places. Within the square, there is also a rectangle. This rectangle is three quarters the size of the square and is positioned in the centre of the square.

Construction consideration

Fig 1.4.5: Classification to form and construction, Week 4 (14/05/2025).

An important visual correction is the extrusion of curved (and protruding) forms past the baseline and cap line.
A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them.
The letters must be altered to a uniform 'visual' white space. This means that the white space between the letters should appear the same. This is called 'fitting' the type.

Fig 1.4.6: Fitting the type, Week 4 (14/05/2025).

Typefaces come about due to a need or demand, it can be intrinsic and extrinsic:

Intrinsic, needs that driven by interest to design a typeface, and seeks out a form that comes close to fulfilling a desire.
Extrinsic, a designer has been commissioned or the student-designer has a task to complete that involves designing a typeface.

2. Instruction

Document 1.1: Module Information Booklet for Advanced Typography.

3. Exercise 1 : Typographic System

We were given a task to create 8 poster according to the typographic systems.

3.1 Research

Among all the content we've been given, I choose "The ABCs of Bauhaus" as my content. To start off, I'm doing a research for "Bauhaus", how I'm going to make it into a poster using the typographic system.

Fig 3.1.1: Reference Board for Axial, Radial, and Dilatational, Week 1 (24/04/2025).

(Source: https://pin.it/2579k6asY, https://pin.it/1GPvKwqmu, https://pin.it/3VtlnTa5p, https://pin.it/4y9N6yxgs, https://pin.it/3RTpLQwJi, https://pin.it/3KDEmIhQi, https://pin.it/5keMXhq2d).

Fig 3.1.2: Reference Board for Random, and Grid, Week 1 (24/04/2025).

(Source: https://pin.it/Q1uSiNNZ6, https://pin.it/4MtgRxxXj, https://pin.it/vBzotcHpH).

3.2 Ideation

After doing some research, I began to explore some of the layout that I can think of with the references in mind.

Fig 3.2.1: Sketch for exploration, Week 1 (24/04/2025).

After making some sketch, I began to export it into InDesign. I am using Futura Bold for the title and Futura Heavy for the text. For the color, I use soft pink and black as the main color for the poster.

1. Axial

Fig 3.2.2: Axial System attempt 1 & 2, Week 1 (24/04/2025)

2. Dilatational

Fig 3.2.3: Dilatational system, Week 1 (25/04/2025).

3. Random

Fig 3.2.4: Random system attempt 1 & 2, Week 1 (25/04/2025).

4. Grid

Fig 3.2.5: Grid system, Week 1 (25/04/2025).

5. Bilateral

Fig 3.2.6: Bilateral system, Week 1 (25/04/2025).

6. Radial

Fig 3.2.7: Radial system, Week 1 (25/04/2025).

7. Modular

Fig 3.2.8: Modular system 1 & 2, Week 1 (25/04/2025).

8. Transitional

Fig 3.2.9: Transitional system, Week 1 (25/04/2025).

In week 2, Mr. Vinod gave us a feedback for each of our work. He told me to change some of my work.

Fig 3.2.10: Grid side-by-side comparison, Week 2 (30/04/2025).

I change the half into full square, so the grid will be more visible.

Fig 3.2.11: Random side-by-side comparison, Week 2 (30/04/2025).

Mr. Vinod told me to make it more random, so I add more text and turn some text to be more random and not in the straight line.

Fig 3.2.12: Transitional side-by-side comparison, Week 2 (30/04/2025).

Mr.Vinod said my work is multilateral, so I changed it and make it in one straight line.

Fig 3.2.13: Bilateral side-by-side comparison, Week 2 (30/04/2025).

3.3 Final Outcome

1. Axial

3.3.1: Axial Final Outcome (JPEG), Week 2 (30/04/2025).

2. Radial

3.3.2: Radial Final Outcome (JPEG), Week 2 (30/04/2025).

3. Dilatational

3.3.3: Dilatational Final Outcome (JPEG), Week 2 (30/04/2025).

4. Grid

3.3.4: Grid Final Outcome (JPEG), Week 2 (30/04/2025).

5. Random

3.3.5: Random Final Outcome (JPEG), Week 2 (30/04/2025).

6. Modular

Fig 3.3.6: Modular Final Outcome (JPEG), Week 2 (30/04/2025).

7. Transitional

Fig 3.3.7 Transitional Final Outcome (JPEG), Week 2 (30/04/2025).

8. Bilateral

Fig 3.3.8 Bilateral Final Outcome (JPEG), Week 2 (30/04/2025).

Fig 3.3.9: Final PDF with guideline, Week 2 (30/04/2025).

Fig 3.3.10: Final PDF without guideline, Week 2 (30/04/2025).

4. Exercise 2A : Type & Play

We were given a task to choose an image, it can be nature, manmade things or the structure of a building, with that picture we need to make 5 letter form.

4.1 Research

First, I'm thinking about nature things because they have a lot of curves and unique pattern. I then search the picture in pinterest.

Fig 4.1.1: Picture exploration, Week 2 (04/05/2025).

I choose these 3 and try to find letterforms in each of them. To make the work easier, I image trace all the picture and try to see if they have some curves or line that I can form into a letter. I choose picture 2 and 3 and image trace them.

4.2 Ideation

Fig 4.2.2: Image trace #1, Week 2 (04/05/2025).

Fig 4.2.3: Image trace #2, Week 2 (04/05/2025).

Fig 4.2.4 : Letterform created from image trace #1, Week 3 (05/05/2025).

Fig 4.2.5: Letterform created from image #2, Week 3 (05/05/2025).

After tracing the letterform, I decided to choose image 2, because it is more unique and can be developed again.

Fig 4.2.6: Letters extracted, Week 05/05/2025.

Fig 4.2.7: Letters on guide, Week 05/05/2025.

Fig 4.2.8: Refining letters for consistent shape, Week 3 05/05/2025.

After refining the letters, I searched for a reference font that matched the extracted letter. I chose 'Poetsen One' because it has the thickness I was looking for and closely resembles the letters.

Fig 4.2.9: Poetsen one font as reference, Week 3 (05/05/2025).

Fig 4.2.10 : Refining letters progress, Week 3 (06/05/2025).

The progress from the initial to the final refinement shows a significant improvement. The final extraction features more consistent shapes while still mantaining the wavy essence of the original image.

After the feedback from Mr.vinod, I edit the letter 'c' to make a ripple to create consistency.

Fig 4.2.11: Editing the letter 'c' (Left: Before, Right: After), Week 3 (07/05/2025).

4.3 Final Outcome

Fig 4.3.1: Final Outcome Letter compilation (JPG), Week 3 (07/05/2025).

Fig 4.3.2: Final Outcome Individual Letter (PDF), Week 3 (07/05/2025).

Fig 4.3.3: Final Outcome Letter Compilation (PDF), Week 3 (07/05/2025).

5. Exercise 2B : Poster

After completing the 'type and play' exercise, we use the letterforms we've created to make a movie poster related to the picture we used.

5.1 Research

First, I look for some movie posters as references so I can decide on the layout, format, and pictures to use. Because my letterforms are based on sea reflection image, so I tried to search for a more ocean or sea concept in movie poster.

Fig 5.1.1: Movie Poster References, Week 3 (07/05/2025).

5.2 Ideation

I combine all of my references and started to searching for the picture I want as the poster. I searched it in 'Pexel.com' to get a higher quality picture.

Fig 5.2.1: Ocean image, Week 3 (08/05/2025).

(Source : Ricky Esquivel)

I cut the picture into 1024 x 1024 px and edit the color in photoshop. I want to make the picture appear more darker because right now the picture is too bright.

Fig 5.2.2: Image after edited (Left : Before, Right : After), Week 3 (08/05/2025).

After editing the picture, I export it into Illustrator and began to work for the title and other text in movie poster.

Fig 5.2.3: Poster process work, Week 3 (08/05/2025).

I use 3 different fonts for the text. I use ITC new baskerville for the actor and actress name as well for " a film by". For the credit at the bottom I downloaded a font called Ignotum. For the date of the movie, I want to keep it simple and readable so I use Helvetica.

After I did some consultation, Mr.Vinod told me to make some more reflection and make the text looks like floating so it represent more of my poster.

Fig 5.2.4: Poster process work after feedback, Week 4 (14/05/2025).

First, I cut my text to appear floating, after that I make the reflection by copying the text and mirror it. Then I lowered down the opacity and use distort effect "tweak". To make it more realistic, I add the shadow using photoshop. I adjust some of the text to adapt the new poster more.

5.3 Final Outcome

Fig 5.3.1: Final poster for "Cadet" (JPG), Week 4 (14/05/2025).

Fig 5.3.2: Final poster for "Cadet" (PDF), Week 4 (14/05/2025).

6. Feedback

Week 1

General Feedback : We were told to set our blog according to the instruction and Mr. Vinod gave us a brief explanation for the tasks.

Specific Feedback : Make sure to use minimal additional elements, so the content still becomes the center of attention.

Week 2

General Feedback : Margin is the most important aspect on the layout. Understanding margin will help us understand anything in design. When creating a design, never do a 45 degree or half, because it will hard to do the layout because it is not symmetrical.

Specific Feedback : I did my bilateral wrong because it is not in one line, it becomes multilateral. The gaps between my transitional need some work, and make the flow continuing. The random is okay but can make it more random. The grids can be improved.

Week 3

General Feedback : Ensure consistency in the letter's design by understanding the object's characteristic, allowing the letter to better represent the object. Avoid using too many points when extracting the letters.

Specific Feedback : Enhance the ripple effect in the letter 'c" to match the style of the other letters and ensure consistency.

Week 4

General Feedback : Using a color that visible the most or a minimal color in the picture to choose the color of the text.

Specific Feedback : Make the title look like floating in the water and give a shadow or reflection.

7. Reflection

Experiences

This task was both challenging and enjoyable. It gave me the opportunity to explore typography more, from understanding the typographic system to designing a complete poster. The deadlines were tight, requiring us to manage our time effectively in order to complete everything before the next class. Although there were many challenges along the way, I managed to overcome them all.

Observations

Unlike the Typography module in Semester 1, Advanced Typography with Mr.Vinod allowed us to grow not just technically, but also creatively and mentally as designers. His constructive feedback on our process made us learn from each other mistakes.

Findings

"As a designer, don't ever like your own work too much"–that's what Mr. Vinod told us. He explained that becoming too attached to our own work made us unable to grow, especially in the creative industry. Among all of his feedback and advice as designers, this one stood out to me the most.

8. Further Reading

Week 1 (23/04/2025)

Fig 6.1: Typographic Systems by Kimberly Elam, Week 1 (23/04/2025).

In this book, I learn more about typographic systems, especially the modular system. Although I sometimes still find it difficult to differentiate between the various system, the explanations provided in this book are quite clear and helpful. I choose page 122, to help me understand better about the modular system.

Fig 6.2: Modular system page 122, Week 1 (23/04/2025).

The modular system depends on standardized non-objective elements or units that can be a ground to hold and contain text. For example, building blocks, storage containers, and component systems. Organizing the placements of the modular units will create a composition. Typographic lines and words are individuals that require a module that acts as a ground, such as hairline squares or rectangles. The smallest module can hold only one character. Multiple lines of type can give support in communicating the message. Philippe Apeloig makes a poster that isolates each characters and gives colored backgrounds in a checkerboard pattern to emphasize the characteristics. The composition is complex and active which requires the viewer to focus. Meanwhile, the slashes are for filling the empty modules surrounding the words.

Week 2 (30/04/2025)

Fig 6.2: Finding Type : A Novel Typographic Exercise, Week 2 (30/04/2025).

Over time, there has been an increase in novel typefaces usage in animations, movies, and games. Uniquely customed letterforms are needed to be able to do the branding of movies or games. For example, the 1927 movie poster for “Metropolis” has a futuristic concept where the title lettering is like heavy metal bands and horror movies. This experience led to typographic exercises research that could develop students’ ability to design custom letterforms. To produce letterforms, there are a few steps to follow:

1. Finding an image

2. Deconstructing an image

3. Identifying letterforms

4. Extracting letterforms

5. Identify a reference typeface

6. Refining letterforms

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Madeline Ordelia Tjahjadi (0376920)