Advanced Typography - Task 1: Exercises

22/9/25 - 19/10/25 (Week 1 - Week 4)

Lim Jia Xuan  0371026

GCD61004 Advanced Typography

Advanced Typography - Task 1: Exercises

TABLE OF CONTENTS

1.0 Lectures

2.0 Instructions

3.0 Process Work: Typographic System

    3.1 Research

    3.2 Ideation

    3.3 Final Outcome

4.0 Process Work: Finding Type

    4.1 Research

    4.2 Ideation

    4.3 Final Outcome

5.0 Feedback

6.0 Reflection

7.0 Further Reading

1.0 LECTURES

Lecture 1: AdTypo_1_Typographic System

Typographic System

Eight major variations:

1. Axial System

All elements are organised to the left or right of a single axis. The axis doesn't need to be straight.

2. Radial System

All elements are extended from a point to focus.

3. Dialational System

All elements expand from a central point in a circular fashion.

4. Random System

Elements appear to have no specific pattern or relationship.

5. Grid System

A System of vertical and horizontal divisions.

6. Modular System

A series of non-objective elements that are constructed as standardised units. The units can be placed randomly, even if not within a larger grid.

7. Transitional System

An informal system of layered banding, in which distinct categories of information are distributed across separate bands to establish clarity and organisation.

8. Bilateral System

All text is arranged symmetrically on a single axis.

Fig 1.1 8 types of Typographic System (Week 1, 27/9/25)

Lecture 2: AdTypo_2_Typographic Composition

Typographic Composition

Principle of Design Composition

• Emphasis
• Isolation
• Repetition
• Symmetry
• Alignment
• Perspective

Rule of Thirds

Suggests that a frame(space) can be divided into 3 columns and 3 rows. The intersecting lines are used to guide where the interesting point should be placed.

(Generally not used in typography.)

Environmental Grid

Based on the exploration of an existing structure and numerous structures combined. 

Fig 2.1 Enviormental Grid (Week 2, 3/10/25)

Form and Movement

Based on the exploration of an existing Grid Systems. The placement of a form on a page, over many pages creates movement. The forms could represent images, text or colour. 

Fig 2.2 Form and Movement (Week 2, 3/10/25)

Lecture 3: AdTypo_3_Context&Creativity 

Context & Creativity

Handwriting

The first mechanically produced letterforms were designed by mimicking handwriting, directly imitating the natural forms of handwritten letters. The shapes and lines of hand-drawn letterforms are influenced by the tools and materials used to create them, such as sharpened bones, charcoal sticks, plant stems, brushes, feathers, and steel pens.

Fig. 3.1 Evolution of the Latin Alphabet (Week 3, 7/10/25)

Fig. 3.2 Letterforms through the ages (Week 3, 7/10/25)

Fig. 3.3 Evolution of the Middle Eastern (Week 3, 7/10/25)

Fig. 3.4 Evolution of the Chinese Script (Week 3, 7/10/25)

The oldest writing found in the ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (3500-2000 BCE), is as yet undeciphered and seems to have been somewhat logo-syllabic in nature. 

Fig. 3.5 ‘Indian’ subcontinent the Indus Valley Civilization (IVC) script (Week 3, 7/10/25)

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

Fig. 3.6 The Brahmi Script (Week 3, 7/10/25)

Programmers and Type Design
Multiscript is a script that combines English (Latin) letters and Vernacular letters.

Fig. 3.7 Baloo (Week 3, 7/10/25)

Local Movements and Individuals

Organisations that preserve local handwriting and scripts:

• Murasu.com by Muthu Nedumaran
• Huruf
• Ek Type and Indian Type Foundry

Lecture 4: AdTypo_4_Designing Type

Designing Type

Why design another typeface?

 -Type design carries a social responsibility so one must continue to improve its legibility
 -Type design is a form of artistic expression 

1. Frutiger by Adrian Frutiger

Fig. 4.1 Frutiger Typeface (Week 4, 14/10/25)

• Frutiger is a sans serif typeface designed by the Swiss type designer Adrian Frutiger in 1968, specifically for the newly built Charles de Gaulle international French airport.
• Purpose: To create a clean, distinctive, and legible typeface that is easy to see from both close up and far away.
• Considerations/ Limitations: Letterforms need to be recognised even in poor light conditions or when the reader was moving quickly past the sign.

2. Verdana by Matthew Carter

Fig. 4.2 Verdana Typeface (Week 4, 14/10/25)

• Designed by Matthew Carter to address specific technical challenges, for example those posted by early computers.
• Purpose: The font was tuned to be extremely legible even at very small sizes on the screen due in part to the popularity of the internet and electronic devices.
• Considerations/ Limitations: The Verdana fonts exhibits characteristics derived from the pixel rather than the pen, the brush or the chisel. Commonly confused characters: lowercase i, j, l.

3. Johnston Sans by Edward Johnston

Fig. 4.3 Johnston Sans Typeface (Week 4, 14/10/25)

• Designed by Edward Johnston in 1916, with a request by the London's Underground railway for "bold simplicity", modern yet rooted in tradition.
• Purpose: To be used as a new typeface in posters and signage on London's Underground Railway.

General process of Type Design:

1. Research

- Understand type history, anatomy, and conventions.

2. Sketching

- Both traditional tool sets and digital tool sets have its pros and cons.

3. Digitalisation

- 

Attention to both the overall form and the counterform is essential for ensuring readability.

4. Testing

- 

An integral component of the design process, essential for refinement and correction.

5. Deployment

-

Even after deployment, thorough testing is vital to ensure that any initial issues are quickly identified and remain minor.

Typeface Construction

- Using grids (with circular forms) can facilitate the construction of a letterform and is a possible method to build, create, and design letterforms.

Fig. 4.4 Construction gird for Roman Capitals (8*8 cells) (Week 4, 14/10/25)

Construction & Considerations:

• The 26 letters of the alphabet can be categorized based on their form and construction, distinguishing between uppercase and lowercase characters.
•  An important visual correction in typography is the extrusion of curved forms beyond the baseline and cap line, known as overshoot. This principle also applies to achieving proper vertical alignment between curved and straight letterforms.
• Visual correction is necessary to adjust the spacing between letters to ensure uniform white space, this process is known as fitting the type.

Fig. 4.5 Classification according to form & construction (Week 4, 14/10/25) 

2.0 INSTRUCTION

3.0 Process Work: Typographic System

Chosen Headline: 

All Ripped Up: Punk Influenced on Design (First Attempt)

Russian Constructivism and Graphic Design (Final Outcome)

3.1 Research

All Ripped Up: Punk Influenced on Design

Fig 3.1 Background Research on Printerest (Week 2, 4/10/25)

I researched what exactly Punk Design is and what its characteristics and styles are. After doing some digging, here are some of the main characteristics I’ve summarised:

• Strong colour contrast, such as red or pink, combined with black and white
• Strong use of the star element
• Bold text is preferred over light text
• Strong layering in visual composition

Russian Constructivism and Graphic Design

Fig 3.1.2 Background Research on Printerest (Week 3, 11/10/25)

After receiving feedback on my first attempted design, which contained too many shape elements, I decided to change the heading to Russian Constructivism and Graphic Design, as this design was cleaner, and here's the difference between the previous headline:

• More white spaces
• Fewer shapes elements required compared to Punk Design
• No layering

3.2 Ideation

(1)Axial 

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2 First and Second attempt for Punk Design (Week 2, 4/10/25)

Attempt#2 was chosen by me for consultation, and I was told that it contained too many graphic elements. 

The final outcome for the axial system involved removing the graphic elements to keep the overall design clean.

(2)Radial System

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.1 First and second attempt for Punk Design (Week 2, 4/10/25)

Attempt #2 was chosen for consultation, and I was told that the gap could be reduced. Overall, the design was acceptable.

(3)Dialational 

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.2 Attempt#1 for Dialational System (Week 2, 4/10/25)

Attempt #1 was chosen for consultation, and I was told that the design was too simple and boring.

(4)Random

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.3 Attempt#1 for Random System (Week 2, 4/10/25)

Attempt #1 was chosen for consultation, and I was told that it was not random enough and too weak to fulfill the requirements of a Random System design.

(5)Grid

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.4 First and Second Attempt for Grid System (Week 2, 4/10/25)

The composition does not effectively convey the intended grid system, resulting in a lack of structural clarity and visual strengt.

(6)Transitional

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.5 First Attempt for Transitional System (Week 2, 4/10/25)

(7)Modular

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.6 First and Second Attempt for Modular System(Week 2, 4/10/25)

(8)Bilateral

-All Ripped Up: Punk Influenced on Design (First Attempt)

Fig 3.2.7 First Attempt for Bilateral System (Week 2, 4/10/25)

3.3 Final Outcome

Fig 3.3 Final Outcome for Axial System (Week 3, 11/10/25)

Fig 3.3.1 Final Outcome for Radial System (Week 3, 11/10/25)

Fig 3.3.2 Final Outcome for Dialational System (Week 3, 11/10/25)

Fig 3.3.3 Final Outcome for Random System (Week 3, 11/10/25)

Fig 3.3.4 Final Outcome for Grid System (Week 3, 11/10/25)

Fig 3.3.5 Final Outcome for Transitional System (Week 3, 11/10/25)

Fig 3.3.6 Final Outcome for Modular System (Week 3, 11/10/25)

Fig 3.3.7 Final Outcome for Bilateral System (Week 3, 11/10/25)

 

Fig3.3.8 Final Typographic System(PDF) (Week 3, 11/10/25)

Fig 3.3.9 Final Typographic System with Grids(PDF) (Week 3, 11/10/25)

4.0 Process Work: Finding Type

4.1 Research 

The first idea that popped into my mind was a barren tree, so I did some image research on the internet. Image 2 (right) was selected as the reference for extracting the letterform because it has a clearer close-up view. 

Fig 4.1 Pre Selected Images (Week 3, 6/10/25)

4.2 Ideation

1. Deconstructing Image & Identifying Letterforms

Fig 4.2 Letterform Extraction (Week 3, 6/10/25)

2. Refinement Process

- Initial Extraction vs Reference Font

Fig. 4.2.1 Initial Extraction vs Reference Font (Week 3, 6/10/25)

- Adjustment- Rotation& Height/Size

Fig. 4.2.1 Adjustment- Rotation& Height/Size (Week 3, 6/10/25)

- Reference font — ITC New Baskerville Std

Fig. 4.2.1 Reference font (Week 3, 6/10/25)

- Refinement Attempt #1

This was my first attempt at the letterform before the feedback session. I pulled the strokes from what I had extracted to fit the base of the reference font.

Fig. 4.2.1 Refinement Attempt #1 (Week 3, 6/10/25)

- Refinement Attempt #2

After the feedback session, Mr. Vinod mentioned that the consistency of the letterforms did not match my extracted font. He also pointed out that the corners of the font should not be sharp, as the bough itself was not sharp at all.

Fig. 4.2.2 The "Sharpen" should be avoided (Week 3, 8/10/25)

Fig. 4.2.3 Refinement Attempt #2 (Week 3, 6/10/25)

- Refinement Attempt #3 (Final)

I refined it again by adding some strokes to make it more realistic and resemble a bough. This attempt is the final letterform.

Fig. 4.2.4 Refinement Attempt #3 & Final Letterform (Week 3, 8/10/25)

- Overall Refinement Process

Fig. 4.2.5 Overall refinement process (Week 3, 7/10/25)

3. Movie Poster

We have to design the movie poster using the letterforms we created with a relevant image.

- Size: 1024px x 1024px

- Export JPG 300 ppi

Since my letterforms were extracted from an image of a barren tree, I wanted to use another image with similar patterns. Below are the pre-selected images, and Image #3 (right) was chosen as the background for the poster.

Fig. 4.2.6 Pre-selected backgrounds for poster (Week 3, 15/10/25)

Photo Edit(Photoshop)

For the background image, I have cropped it to the required size of 1024px × 1024px. Besides that, I applied several effects, including Hue/Saturation, Motion Blur, and Liquify, to create a more blurry, windy, and eerie atmosphere.

As for the title, I chose not to apply any additional effects since the background already provides a strong visual impact. I wanted the solid letterform to stand out and enhance the scary, haunted feeling of the overall design.

Fig. 4.2.7 Before(left) and After(right) Photoshop (Week 3, 15/10/25)

-Poster Design

After completing the background image editing for the poster, I proceeded to arrange all the necessary elements, including the title, tagline, credits, and release date, into the final layout. 

Fig. 4.2.8 Poster Design (Week 3, 15/10/25)

4.3 Final Outcome

Fig. 4.3 Original Image & Extraction (Week 3, 7/10/25)

Fig. 4.3.1 Overall Refinement Process (Week 3, 7/10/25)

Fig. 4.3.2 Adjustment- Rotation& Height/Size (Week 3, 7/10/25)

Fig. 4.3.3 Reference Font - ITC New Baskerville Std  (Week 3, 7/10/25)

Fig. 4.3.4 Final Letterform on Baseline (Week 3, 7/10/25)

Fig. 4.3.5 Original Extraction (top) & Final Letterform (bottom) Comparison 
(Week 3, 7/10/25)

Fig. 4.3.6 Final Movie Poster (JPEG) (Week 3, 15/10/25)

Fig. 4.3.7 Final Movie Poster (PDF) (Week 3, 15/10/25)

5.0 Feedback

Week 1

General Feedback: Mr. Vinod briefed us on the overall expectations for the semester, along with rules and advice. In addition, he assigned us our first task with a clear brief.

Week 2 

General Feedback: Mr. Vinod provided feedback on our Exercise 1, suggesting that we reduce the use of graphic elements and pay closer attention to the differences between the modular system and the grid system. He also offered design tips, including decreasing the font size from 12pt to 11.5pt and avoiding overly sharp colors.

Specific Feedback: The design was considered too boring and weak. It should be improved by reducing the use of graphical elements, as excessive graphics can be distracting.

Week 3

General Feedback: Observe the characteristics of the image and apply them when designing the font.

Specific Feedback: Change the font style from italic to roman, reduce the sharpness to make it flatter, and add a small amount of graphical elements to make it look more realistic.

Week 4

General Feedback: Pay attention to the consistency of the strokes and patterns.

Personal Feedback: The overall design is acceptable, but more words can be added.

6.0 Reflection

Experience

This was my first time being taught by Mr. Vinod, and I genuinely enjoyed his classes. His direct and precise teaching style made the lessons both engaging and effective. Looking back on the experience, I found Typographic Systems to be more demanding than Finding Type. Despite the tight deadlines and fast-paced workflow, both projects were incredibly rewarding. They pushed me to think more creatively and strengthened my ability to design efficiently under pressure. Throughout the process, I also learned to manage my time more effectively and to approach design challenges with greater strategic thinking. This was my first time being taught by Mr. Vinod, and I genuinely enjoyed his classes. His direct and precise teaching style made the lessons both engaging and effective. Looking back on the experience, I found Typographic Systems to be more demanding than Finding Type. Despite the tight deadlines and fast-paced workflow, both projects were incredibly rewarding. They pushed me to think more creatively and strengthened my ability to design efficiently under pressure. Throughout the process, I also learned to manage my time more effectively and to approach design challenges with greater strategic thinking.

Observation

In Typographic Systems, I observed that maintaining a clear hierarchy between white space and typography plays a crucial role in achieving visual harmony. Using grids as structural guides was essential for ensuring that the composition remained organized and consistent. Another key takeaway was the importance of simplicity, minimizing unnecessary graphic elements helps the layout stay clean, focused, and visually balanced.
In contrast, Finding Type emphasized the importance of observation. It required me to carefully study the consistency and characteristics of my subject and translate those qualities into letterforms that felt cohesive, expressive, and meaningful.

Findings

Through these two exercises, I learned that successful typographic design relies heavily on establishing a clear and effective hierarchy. Incorporating excessive graphic elements does not necessarily enhance the outcome; instead, a minimal and well-considered approach often results in stronger and more cohesive designs.

I also discovered the importance of observation in the design process. By examining other designers’ works and analyzing their visual decisions, I gained valuable insights into how different creative approaches can address the same design challenge. For example, during the Typographic Systems exercise, I went through multiple rounds of refinement but still struggled to achieve the outcome I envisioned. One day, while scrolling through social media, I came across a post discussing Kimberly Elam’s book Typographic Systems. That post sparked numerous new ideas and helped me reframe my design direction. This experience taught me to observe more critically and to apply those observations thoughtfully in developing my own design thinking.

7.0 Further Reading

Figure 7.0 Typographic Systems by Kimberly Elam (Week 3, 3/10/25)

Typographic Systems by Kimberly Elam explores various methods of organizing layouts in typography. Instead of relying solely on traditional grids, the book introduces eight distinct systems—such as axial, radial, modular, and grid—which were also discussed in the first lecture video. Each system demonstrates how layout can effectively guide the viewer’s eye, create visual balance, and enhance engagement. The book is highly visual and serves as an excellent resource for understanding how to structure design clearly and creatively. It was especially helpful for me in completing Exercise 1.