Advanced Typography - Task 1: Exercises

22.04.2026 - 20.05.2026 / Week 1-Week 5

Aida Tan Jie Fei / 0385645

Advanced Typography/ Bachelor of Design (Honours) in Creative Media / Taylor's University

Task 1: Exercise 

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LIST

• Lectures
• Instructions
• Process Work-Exercise 1
• Final Outcome
• Process Work-Exercise 2
• Final Outcome
• Feedback
• Reflections
• Further Reading

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LECTURES

Week 1

AdTypo_1_Typographic Systems

Typographic systems provide a structured set of rules that guide hierarchy, order of reading, legibility, and contrast in communication and decision-making, offering a framework that supports learning while intuition develops.

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

Figure 1.1 Axial System

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

Figure 1.2 Radial System

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

Figure 1.3 Dilatational System

4.Random System: Elements appear to have a specific pattern or relationship.

Figure 1.4 Random System

5.Grid System: A system of vertical and horizontal divisions.

Figure 1.5 Grid System

6.Transitional System: An informal system of layered banding.

Figure 1.6 Transitional System

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

Figure 1.7 Modular System

8.Bilateral System: All text is arranged symmetrical on a single axis.

Figure 1.8 Bilateral System

Week 2

AdTypo_2_Typographic Composition

Principles of Design Composition

1. Emphasis
2. The Rule of Thirds
3. Isolation
4. Repetition
5, Symmetry
6.Asymmetry
7. Alignment
8. Perspective

These abstract notions can feel ambiguous in typographic layouts or composition, as they relate more to imagery than to complex information made up of different elements. When applied to real-life content on a page or screen such as images, text and colour, these principles can feel disconnected, but some, such as emphasis, are easier to apply than others.

Figure 1.9 Emphasis

The Rule of Thirds is a composition guide that divides a frame into three columns and three rows, using the intersections to place points of interest.In reality, it is rarely used when more effective options are available.

Figure 1.10 The Rule of Third

Typographic Systems

In the 8 typographic systems, the most practical and widely used is the Grid System (Raster Systeme), which is derived from the grid-based compositional structure of letterpress printing and was further developed in the Swiss (Modernist) style of typography, with its foremost proponents being Josef Müller-Brockmann, Jan Tschichold, Max Bill and others.

Figure 1.11 The Grid System 

Responding to the highly ordered modernist approach to typography, younger designers began to challenge the idea of order, leading to post-modern typographic systems where chaos, randomness, and asymmetry were explored. Legibility and readability became secondary, though the best examples still balance both. Key proponents include David Carson, Paula Scher, and Jonathan Barnbrook.

Order was replaced with apparent chaos, which felt exciting and new for a generation influenced by punk anti-establishment ideas and music. As a result, asymmetrical, random, repetition, dilatational, and radial systems began to become part of designers’ visual language.

Figure 1.12 Left to right: Paula Scher, Jonathan Branbrook, & David Carson

Environmental Grid

This system is based on the exploration of existing structures or combinations of structures, where key curved and straight lines are extracted to form a framework. The designer then organizes information around this structure, incorporating non-objective elements to create a unique and visually stimulating mix of textures.

Figure 1.13 Example of Environmental grid

Form and Movement (by Mr. Vinod)

This system is based on the exploration of grid systems, with the purpose of encouraging students to explore the options that the grid offers and to dispel the seriousness surrounding its application, showing that the placement of a form over many pages creates movement.

Figure 1.14 Form & Movement Composition

Week 3

AdTypo_3_Context&Creativity

Handwriting

Handwriting is the foundation of type design, as early mechanically produced typefaces were directly modeled on it. Therefore, handwriting became an important standard for letterforms, spacing, and writing conventions. In addition, different writing tools and materials, such as bones, charcoal, brushes, quills, and steel pens, influence the shape of letters, giving typefaces their unique styles and characteristics.

Figure 1.15 Evolution of the Latin Alphabet

Cuneiform (3000 B.C.E), the earliest true writing system, is characterised by its distinctive wedge-shaped marks, created by pressing the blunt end of a reed stylus into wet clay tablets. It was written from right to left.

Hieroglyphics (2613–2160 B.C.E.) was the ancient Egyptian writing system that combined writing with relief carving art and used a mix of rebus and phonetic elements, making it an early foundation for alphabetic systems.

Hieroglyphs could be used in three ways:

• As ideograms, representing the actual objects they depict.
• As determinatives, clarifying meaning or indicating that the signs function phonetically.
• As phonograms, representing sounds used to spell out words.

Figure 1.16 Ancient Egypt Hieroglyphs

Figure 1.17 Handwriting System

Early Greek (5th century B.C.E.) 

• The system developed from the Phoenician 22-letter consonant alphabet by adding vowels.
• The writing direction was not fixed and often used boustrophedon style, where lines alternated between left-to-right and right-to-left.
• The letters were hand-drawn, informal, and had no serifs.
• Over time, the letterforms became thicker, more structured, and serifs began to appear.
• These forms influenced Roman inscriptions, which became the foundation for Western calligraphy and typography for the next two thousand years.

Roman Uncials

• By the 4th century, Roman letters had become more rounded in form.
• The curved shapes required fewer strokes, making them faster to write.

English Half Uncials (8th century)

• Evolved into a more slanted and condensed form.

Carolingian Minuscule

• After the fall of the Roman Empire, writing split into many regional styles; for the next 300 years, it was mainly preserved by religious communities in remote areas.
• Under the guidance of Alcuin of York, a court school was established during Charlemagne’s reign.
• Book production increased significantly, and language became standardised in pronunciation, spelling, and writing conventions (such as capital letters, spaces between words, and punctuation).
• Carolingian Minuscule was used for legal and literary texts to unify communication across the expanding European empire.
• It was a highly important development, becoming the model for 15th-century Humanistic writing, which later formed the basis of modern lowercase Roman type.

Black Letter (12th–15th century C.E.) 

• Developed during the Gothic period
• The term Gothic was originally used by Italians to describe cultures north of the Alps, meaning barbaric or uncivilized.
• Gothic style emphasized verticality, with pointed arches replacing Roman rounded arches and strong upward visual movement in architecture.
• Black Letter reflected this aesthetic through dense, narrow, and tightly spaced letterforms.
• Vertical strokes dominated the design of the letters.

The Italian Renaissance

• Humanists admired the clear and open Carolingian script and referred to the rediscovered classical letterforms as “Antica.”
• Renaissance principles of analyzing form in art and architecture were applied to letter design.

Movable Type

Woodblock printing was already practiced in China, Korea, and Japan as early as the 8th century.

The earliest known printed book was the Diamond Sutra (868 C.E.), which included the world’s first printed illustration.

China attempted movable type printing but faced difficulties due to the large number of characters and the use of clay type.

In the late 14th century, Korea developed bronze movable type, allowing text to be dismantled and rearranged.

The creation of Hangul helped Korea successfully develop movable type printing.

Movable type printing in Korea appeared decades before Gutenberg’s Bible in Europe (1439).

Figure 1.18 Example of Movable Type

Colonial Influence on Typography History

The rise of the British Empire in the 19th century led many Western scholars to overlook African and Eastern civilizations, while placing greater emphasis on Greek and Roman cultures over older ones such as Egypt, Mesopotamia, the Indus Valley, and China. Many academic fields were shaped by colonial perspectives and biased interpretations of history.

Later typographers transformed historical handwriting into printed typefaces, and the digital era further digitized and distributed these designs, strengthening their value. However, Western colonization disrupted many Eastern cultural and writing traditions, making it important to re-examine Eastern handwriting development.

Figure 1.19 Evolution of Middle Eastern Alphabets

Figure 1.20 Evolution of Chinese Script

Phoenicia(present day Syria, Lebanon and Israel) was central to the development of language and writing systems.

Figure 1.21 Phoenicia

The Indus Valley Civilization script (c. 3500–2000 BCE), the earliest writing found in the Indian subcontinent, remains undeciphered and is thought to be partly logo-syllabic in nature. Some scholars believe it is non-linguistic, while others argue that it represents a form of language.

Figure 1.22 Indus Valley Civilisation Script

Brahmi script (450–350 BCE)

• The earliest writing system developed in India after the Indus script.
• It is highly influential, forming the basis of all modern Indian scripts and many writing systems in Southeast and East Asia.
• The origin of Brahmi is debated: some scholars believe it was influenced by Semitic scripts, while others suggest a possible link to the Indus Valley Civilization script.

Figure 1.23 Brahmi Script

The earliest writing systems in Southeast Asia were derived from Indian scripts, with Pallava being the most important, originally used for Sanskrit and Tamil. Pallava had a major influence on the development of many writing systems across Southeast Asia. Another Indian script used in the Malay Archipelago was Pra-nagari, an early form of the Nagari script used for writing Sanskrit.

Figure 1.24 Left to Right: Pallava, Pra-nagari

Kawi script developed in Java based on the Nagari script. The term Kawi comes from the Sanskrit word kavya, meaning poet. It was widely used for communication between kingdoms and became the basis of several writing systems in Indonesia and the Philippines. As a result, Old Malay in the Malay Peninsula was written using both Indian scripts and Kawi.

Figure 1.25 Kawi Script

Indonesia has many historical writing systems. Some scholars suggest there may have been an ancient Proto-Sumatran script derived from Old Gujarati, which influenced medieval scripts on the island. A later example is the Incung script from Kerinci, considered the local “original writing system” rather than Jawi.

Figure 1.26 Incung script from Kerinci

Jawi is an Arabic-based writing system that spread to Southeast Asia with the arrival of Islam. Its spread was not only due to religious conversion but also supported by missionary efforts that encouraged literacy. Traders and missionaries introduced Jawi in trading ports, where it became used among middle and upper classes. However, it replaced local scripts slowly and never fully replaced them in some regions.

Figure 1.27 Jawi

We study handwriting because early mechanical type was directly based on it, making handwriting the standard for letterforms, spacing, and design conventions. However, many Eastern writing traditions were neglected and difficult to digitize using Western printing technologies due to technical complexity and cost. With the rise of digital tools and programmers in the East, indigenous scripts are now increasingly appearing on modern devices.

Programmers and Type Design

More vernacular writing systems are being developed by large technology companies, with many Asian programmers and designers involved. At the same time, multi-script typefaces are increasingly being created to meet the needs of typesetting in both local scripts and combinations of local scripts with Latin text.

Figure 1.28 Baloo

Local Movements and Individuals

In Malaysia, Muthu Nedumaran developed the murasu.com system, solving key encoding challenges for vernacular scripts, which is now used on mobile and desktop platforms.

Huruf is a Malaysian design collective focused on documenting and digitizing localized Latin and vernacular lettering found in signage and wall paintings.

In India, Ek Type and Indian Type Foundry have made significant contributions to the development of vernacular type design.

Young designers should draw inspiration from their own history and culture, developing past traditions into the future rather than blindly appropriating unrelated cultural elements.

Creativity should come from observing one’s surroundings and exploring shared histories.

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INSTRUCTIONS

Figure 2 Module Information

Task 1

Exercise 1 - Typographic systems

In this task, we are required to explore the 8 typographic systems (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, and Bilateral) using the provided content. The exercise must be completed using Adobe InDesignonly, with an artwork size of 200 × 200 mm. Along with black, we are allowed to use one other colour, and only minor graphical elements may be used.

Content:

The Design School,
Taylor’s University

All Ripped Up: Punk Influences on Design

or
The ABCs of Bauhaus Design Theory
or
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

Exercise 2 - Finding Type (Type & Play)

In this task, we are required to choose an image of a man-made object, structure, or natural element with simple and clear forms. We have to analyse and identify potential letterforms from the image, then develop and digitize them through multiple refinements.

After completing the letterforms, we must combine them with the original image to create a strong visual relationship, where the text and image support and interact with each other harmoniously.

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PROCESS WORK

Task 1: Exercise 1 - Typographic systems

1.Axial System

For the axial system, I initially designed the version on the left. However, after receiving feedback from Mr. Vinod, I changed my design to the version on the right. Mr. Vinod mentioned that the page should not be divided into two separate parts, so I decided to use the right-side design as my final work.

Figure 2.1 Axial System

2.Radial System

For the radial system, I came up with several layout ideas, but I did not include them here because after receiving feedback, I realized that there were issues with most of my radial system artworks. In the end, I revised the design and finalized the artwork shown on the right side.

Figure 2.2 Radial System

3.Dilatational System

For the dilatational system, I initially designed the version on the left. After receiving feedback from Mr. Vinod, I adjusted the design because he mentioned that the artwork needed to be more balanced. My first design was too focused on the right side, so I revised the composition to create a more balanced layout, which is the artwork shown on the right side.

Figure 2.3 Dilatational System

4.Random System

For the random system, Mr. Vinod said that the design is acceptable and works and the information can be seen.

Figure 2.4 Random System

5.Grid System

For the grid system, I came up with two designs and chose the artwork on the left side.

Figure 2.5 Grid System

6.Transitional System

For the transitional system, Mr. Vinod said that the design is acceptable and works.

Figure 2.6 Transitional System

7.Modular System

For the modular system, I came up with three designs and chose the middle one as my final artwork.

Figure 2.7 Modular System

8.Bilateral System

For the bilateral system, I came up with two designs and chose the first design as my final artwork.

Figure 2.8 Bilateral System

FINAL OUTCOME

Exercise 1 - Typographic systems

Figure 2.9 Final Axial System

Figure 2.10 Final Radial System

Figure 2.11 Final Dilatational System

Figure 2.12 Final Random System

Figure 2.13 Final Grid System

Figure 2.14 Final Modular System

Figure 2.15 Final Transitional System

Figure 2.16 Final Bilateral System

Figure 2.17 Final Typographic System

Figure 2.18 Final Typographic System PDF

Figure 2.19 Final Typographic System with Grid PDF

Task 1: Exercise 2 - Finding Type (Type & Play)

I chose the fries picture as my reference image, and below is my process.

Figure 3.1 Fries Reference Image

I imported the fries image into Adobe Illustrator and typed out all the letters. Then I started finding letters that match the strokes of the fries.

Figure 3.2 Finding Letters

I found five letters: V, I, T, A, and L.

Figure 3.3 Letters: V, I, T, A, L

I chose Merienda Regular as my reference font and explored it to develop my own font design.

Figure 3.4 Exploring Font Design

Figure 3.5 VITAL (Fries)  Moodboard

After receiving feedback, I changed my reference image because Mr. Vinod said that “VITAL” did not clearly represent fries and was too simple, so it needed further exploration. However, I found it difficult to express fries visually, so I changed my reference image to fusilli pasta.

Figure 3.6 Fusilli Pasta Reference Image

I started exploring the new reference image and identified the letters L, I, F, T, and V.

Figure 3.7 Finding Letters: L, I, F, T, V

I started exploring and developing the letters using the reference font Copperplate Regular.

Figure 3.8 Exploring Font Design

I created outline strokes to replace the messy outlines.

Figure 3.9 Create Outline

Figure 3.10 LIFTV (Fusilli Pasta) Moodboard

After finishing exploring the font, I started working on the poster design and changed the reference image color.

Figure 3.11 Background Colour Explore

After changing the color, I placed the logo at the bottom of the artwork.

Figure 3.12 Logo Placing

I explored the artwork with three different background colors.

Figure 3.13 Exploring Artwork

Figure 3.14 LIFTV Moodboard & Artwork

After receiving feedback from Mr. Vinod, I updated the poster by changing the colours and adding effects to the title “LIFTV”.

Figure 3.15 Apply Color and Effect in Photoshop

Figure 3.16 Final Poster

FINAL OUTCOME

Exercise 2 - Finding Type (Type & Play)

Figure 3.17 Image & Extraction

Figure 3.18 Refinement Process

Figure 3.19 Reference Font

Figure 3.20 Extracted Letterforms (baseline)

Figure 3.21 Final Letterforms (baseline)

Figure 3.22 Original extraction and final letterforms Compare

Figure 3.23 Type & Play Collage PDF

Figure 3.24 Type & Play Poster PDF

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FEEDBACK

Week 1

General Feedback

Mr. Vinod briefed us on the module information, the rules, and the tasks for this module.

Week 2

General Feedback

When using a dark background, ensure that small text remains readable. Graphical elements should enhance the design, not compensate for weaknesses in the layout. When printing, avoid using anything other than 100% CMYK for text to prevent colour separation. The font size can be reduced by 0.5 pt if the font does not include small caps. Proximity creates tension.

Specific Feedback

The axial design needs improvement, as it should not use 45-degree angles or be divided into two pages. The radial design is incorrect because every line of text should align to a central point. The dilatational design needs better positioning to achieve balance, as it is currently too biased toward one side. The other designs are okay.

Week 3

General Feedback

We need to maintain the consistency of thin and thick strokes and ensure that the font we create effectively represents the chosen picture.

Specific Feedback

The fries font design is too simple and needs more exploration, as some letters do not really resemble fries; the letters “I” and “l” work, while the letters “v,” “a,” and “t” do not.

Week 4

General Feedback

We should add some effects to the letter to make the design more engaging. At the same time, we need to apply critical thinking and observation skills throughout the design process to improve our work.

Specific Feedback

The artwork is working, but Mr. Vinod suggested that the logo and title design could be improved by adding small visual effects. This would make the design more engaging, improve its integration with the background, and guide the audience’s focus toward the main content.

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REFLECTIONS

Experience

Throughout these exercises, I experienced both challenges and personal growth. In Exercise 1, working with the 8 typographic systems for composition initially felt quite challenging. Some systems, such as radial and transitional, were especially confusing for me at first. However, after completing these structured exercises, I gained a better understanding of how many different layout systems exist in typography and how each one has its own logic and purpose.

In Exercise 2, extracting and reconstructing letterforms from visual references required a higher level of precision and attention to detail. This process made me realise that typography is not only about written communication, but can also build a deeper visual relationship with imagery. Throughout this process, I went through multiple rounds of refinement and adjustments before reaching my final outcome. While working on the poster, I also faced some challenges, such as applying effects correctly. However, overcoming these difficulties gave me a strong sense of achievement upon completion.

Observation

Through the typographic systems exercises, I observed that every system has its own unique way of expression. Even though some layouts may appear chaotic or unorganized, we are still able to understand and extract the intended information from them. Perhaps this is the charm of typographic systems because they allow everyone to find a layout style that suits their own preferences instead of being limited to only one approach.

In the Type & Play exercise, I discovered that the letterforms we create do not only represent the literal meaning of the words, but also communicate their background, origin, and visual context.

Findings

From these exercises, I found that typography is not only about arranging text, but also about creating visual communication and conveying meaning. The typographic systems helped me understand how structure can guide experimentation while still maintaining clarity and hierarchy.

I also learned that typography can function as a strong visual element when combined with imagery, allowing designs to become more expressive and concept driven. Most importantly, I realised that attention to detail, especially in spacing, form, and composition, plays a crucial role in improving the effectiveness and overall quality of typographic work.

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FURTHER READING

Figure 4.1 Typographic System by Kimberly Elam

After reading Typographic Systems by Kimberly Elam, I gained a deeper understanding of typography. I realised that typography is not simply about arranging text on a page, but also about organizing visual information through hierarchy, spacing, structure, and composition. The book helped me understand that every typographic system has its own unique structure, purpose, and way of guiding the viewer’s reading experience. Even systems that appear random or chaotic still contain visual balance and relationships.

In addition, the book made me more aware of the importance of spacing, alignment, and composition in typography. Sometimes even a very small adjustment can greatly affect the readability and overall visual impact of a design. Most importantly, I learned that structure does not limit creativity. Instead, it helps designers explore more design possibilities while still maintaining clarity and organization.

Figure 4.2 Kreatif Beats Post by Vinod Nair

After reading the article “Finding Type: A Novel Typographic Exercise”, I gained a better understanding of how typography can be more than just written communication and also become a form of visual storytelling. The article showed me that letterforms can be inspired by objects, textures, and visual elements from everyday life, which changed the way I view typography and type design.

One of the most interesting parts of the article was the process of extracting letterforms from images. I realised that observation skills are very important in design because designers need to notice shapes and structures that are not obvious at first. The article also helped me understand the importance of refinement and using reference typefaces to create more consistent and readable designs.