Advanced Typography - Task 1: Exercises

ADVANCED TYPOGRAPHY - TASK 1: EXERCISES

WEEK 1 - WEEK 4 | 22/09/2025 - 13/01/2026

Aina Ahmed Aleem | 0355701 | BDCM

Advanced Typography | Mr. Vinod

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TABLE OF CONTENTS

1. Lectures
2. Instructions
3. Exercise 1: Typographic System
4. Exercise 2: Type and Play 
5. Part 1
6. Part 2
7. Exercise 2: Outcome 
8. Feedback
9. Further Readings 
10. Reflection

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LECTURES

WEEK 1 - 23/09/25

Lecture 1 - Typographic Systems

8 Variations:

1. Dilatational

2. Axial

3. Radial

4. Transitional

5. Bilateral

6. Grid

7. Modular

8. Random

Criteria:

Hierarchy

Order of Reading

Legibility

Contrast

DILATATIONAL 

• all elements expand from a central point in a circular manner.
• place information in a hierarchical manner, inner circle to outer circle or vise versa 
• can be multiple rings 

Fig 0.1: Dilatational System (Source: Pinterest)

AXIAL

• all elements are organized to the left / right of a single axis
• axis can be straight or bent
• can be multiple lines 

Fig 0.2: Axial System (Source: Pinterest)

RADIAL

• all elements are extended from a point of focus
• can be multiple points of focus

Fig 0.3: Radial System (Source: Pinterest)

TRANSITIONAL

• an informal system of layered banding 
• separating information into certain bands

Fig 0.4: Transitional System (Source: Pinterest)

BILATERAL

• all text is arranged symmetrically on a single axis. 
• often used in invitation cards

Fig 0.5: Bilateral System (Source: Pinterest)

GRID

• a system of vertical & horizontal divisions
• often used in a large amount of text

Fig 0.6: Grid System (Source: Pinterest)

MODULAR

• a series of non-objective elements that are constructed in a standardized unit
• units can be randomly placed but not within a larger grid

Fig 0.7: Modular System (Source: Pinterest)

RANDOM

• elements appear to have no specific pattern or connection

Fig 0.8: Random System (Source: Pinterest)

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WEEK 2 - 30/09/2025

Lecture 2 : Typographic Composition

COMPOSITION (Emphasis, Rule of Thirds, Grid System, Environmental Grid, Form & Movement)

Principles: Emphasis, Isolation, Repetition, Symmetry, Asymmetry, Alignment, Perspective, etc.

Rule of Thirds
The intersecting lines serve as a guide for positioning key elements within a given space.
Although it is not commonly applied, the rule of thirds remains an important compositional principle that helps in deciding where to place significant information.

Example: Text columns may be aligned along the sides, while the most important content is positioned at the intersection points.

Grid System (Raster System)
The grid system is one of the most commonly used methods in typographic composition, offering a structured and pragmatic approach to design.

During the postmodern era, designers began exploring chaos, randomness, and asymmetry as alternatives to traditional order. Notable proponents of this movement include David Carson, Paula Scher, and Jonathan Barnbrook.

This period replaced structured arrangements with deliberate visual disorder inspired by punk, anti-establishment culture, and music resulting in compositions that embraced asymmetry, randomness, repetition, dilatational, and radial systems.

Environmental Grid
The environmental grid is developed through the exploration of an existing structure or a combination of several structures.
Designers organize information around this superstructure, incorporating non-objective elements to create texture and visual interest.

This approach involves analyzing both interior and exterior spaces, extracting the lines and curves from architectural forms, and using them as the foundation for arranging information within the design.

Form & Movement
This concept involves the exploration and expansion of an existing grid system, where forms may be represented through images, text, or color.

Example:
A non-objective element is positioned within a larger grid system, while smaller elements are introduced to maintain visual continuity across multiple spreads.
For instance, large black non-objective shapes may be replaced with images or text, or areas of positive and negative space may be substituted with visuals.

Non-objective elements are not restricted to rectangular forms they can also be circular or irregular in shape. However, the design should remain balanced and not overly decorative.

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WEEK 3 - 07/10/2025

Lecture 3 : Context & Creativity

This week’s lecture was about the history of typography from the ancient past focusing on: Handwriting and ancient pictographs
Studying handwriting is important because the first mechanically produced letterforms were designed to directly imitate handwritten styles.

Programmers & Type Design
With the rise of computer programming, more scripts are now visible across phones, tablets, and computers.
Google has also contributed by producing more vernacular scripts.

Local Movement and Individuals
Instead of following Western influences and adopting their cultures, we should look toward the East.
Advice: To be original, designers need to look inward — explore our vast history, and embrace our own culture.
Creativity and inspiration should begin by observing our surroundings and exploring our collective histories.

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WEEK 4 - 14/10/2025

Lecture 4 : Designing Type

Reasons for Designing a New Typeface

• Type design carries a social responsibility — improving legibility and readability
• Type design is a form of artistic expression

ADRIAN FRUTIGER (1928–2015)

• Swiss type designer
• Designed Univers, Frutiger, and Avenir

Adiran Frutiger (Source: Google)

Frutiger (Sans Serif Typeface)

• Initially designed for Charles de Gaulle International Airport, France.
• Purpose: Create a clean, distinctive, and legible typeface, readable both up close and from a distance.
• Commonly used for signage in airport departure lounges.

Frutiger Font (Source: Google)

MATTHEW CARTER

• British type designer
• Designed Verdana, Georgia, Tahoma (Windows typeface), Bell Centennial
• Typefaces mainly created to address specific technical challenges, e.g., for early computers

Matthew Carter  (Source: Google)

Verdana (for Microsoft)

• Designed using pixels instead of pen, brush, or chisel (unlike traditional fonts)
• Purpose: Highly legible at very small sizes on screens, addressing the needs of the internet and electronic devices

Bell Centennial

• Designed to solve technical and visual problems of existing phonebook typefaces

EDWARD JOHNSTON

Designed Johnston Sans

Edward Johnston (Source: Google)

Johnston Sans

• Typeface with “bold simplicity” modern yet rooted in tradition
• Combines classical Roman proportions with humanist warmth
• Purpose: Created for London Underground posters and signage
• Note: Gill Sans has a similar style

GENERAL PROCESS OF TYPE DESIGN

• Research
• Sketching
• Digitization
• Testing
• Deployment

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INSTRUCTIONS

Fig 1.0 : Module Information Booklet

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EXERCISE 1: TYPOGRAPHIC SYSTEM

Timeframe: Week 1- Week 2

Deadline: Week 4

We were given 8 different typographic systems to explore. We were given an idea of the systems on our lecture videos and we were briefed on the assignment during our first tutorial. We were encouraged to do as much attempts as we can before finalizing our work. 

The content for this task:

Fig 1.0 : Exercise 1 Content

IDEATION

Fig 1.0 : Sketches 

PROCESS

After coming up with the sketches, I started the digitization process on InDesign.

Dilatational System

I tweaked the first attempt to make it look more cohesive. 

Fig 1.2 : Dilatational System Process 

Axial System

Fig 1.3 : Axial System Process 

Radial System

Fig 1.4 : Radial System Process 

Transitional System

Fig 1.5 : Transitional System Process 

Bilateral System

Fig 1.6 : Bilateral System Process 

Grid System

Fig 1.7 : Grid System Process 

Modular System

Fig 1.7 : Modular System Process 

Random System

Fig 1.8 : Random System Process 

FINAL EXERCISE 1 - TYPOGRAPHIC SYSTEMS

Fig 1.9 : Dilatational System Final JPEG

Fig 2.0 : Axial System Final JPEG

Fig 2.1 : Radial System Final JPEG

Fig 2.2 : Transitional System Final JPEG

Fig 2.3 : Bilateral System Final JPEG

Fig 2.4 : Grid System Final JPEG

Fig 2.5 : Modular System Final JPEG

Fig 2.6 : Random System Final JPEG

Fig 2.7 : Typographic systems FINAL PDF

Fig 2.8 : Typographic systems FINAL PDF with grid

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EXERCISE 2 : TYPE AND PLAY (Part 1)

Timeframe : Week 04 - Week 05

Deadline : Week 05

Finding Type 

The task involves selecting an image and analyzing its shapes and forms to identify elements that resemble letterforms. By observing curves, lines, and angles within the image, we can dissect and interpret these features as typographic elements, providing inspiration for creating unique and visually interesting letterforms.

PROCESS

Letterform Extraction 

I chose this image as my subject because its organic shapes offer an interesting opportunity for typographic exploration. I began by identifying the letters R, A, O, C, and L within the forms.

Fig 1.1 : First attempt finding type

This is what I originally came up with; however, after Mr. Vinod’s feedback, I was able to understand the assignment more clearly. He explained that the font should reflect the textures and features of the image, so that when someone looks at the typeface, it is recognizable as coming from that image. He noted that my initial design didn’t effectively show the texture and suggested that I should incorporate the characteristics of the image, such as circles, holes, and other distinctive shapes, into the font.

After his feedback, I started over and developed a new version based on his suggestions. I used the pen tool and curvature tool to carve out the letters. 

Fig 1.2 : Letter extraction process

Refinement 

After extracting the letters, I found it relatively easy to proceed with the rest of the work. I began by straightening and aligning the extracted letterforms, then chose the font Futura Std Bold as a guide to help shape and refine the letters. I mostly relied on the Curvature Tool to adjust the curves and contours of the letterforms.

Fig 1.3 : Refinement process

FINAL EXERCISE 2 PART 1 - TYPE AND PLAY

Fig 1.4 : Final Type Design - Exercise 2 Part 1

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PART 2

I hadn’t finished my poster when Mr. Vinod gave feedback, so this is what I showed him at the time, I had just started. The image I used was from Pinterest, and I edited the colors slightly and added noise to introduce some texture.

Fig 1.5 : Poster process

After adding all the information to the poster, I was pleased with the result, but it still felt like something was missing. I used the letter “O” extracted during the letter extraction process (see Fig. 1.2) as part of the background to make it more visually interesting, and added a dark orange to provide a pop of color.

Fig 1.6 : Poster process

Finally, I added a gradient to the poster to give it more depth and visual dimension.

Fig 1.7 : Final poster process

FINAL EXERCISE 2 PART 2 - TYPE AND PLAY

Fig 1.8 : Final Poster - Exercise 2 Part 2 JPEG

Fig 1.9 : Final Poster - Exercise 2 Part 2 PDF

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FEEDBACK

WEEK 1 - 23/09/25

General Feedback : Begin by sketching the layout for each typographic system and exploring how they function. Make sure to complete all the required lectures in your e-portfolio, and refer to the videos for a clear starting point.

Specific Feedback : -

WEEK 2 - 30/09/25

General Feedback : Absent

Specific Feedback : Absent

WEEK 3 - 07/10/25

General Feedback : Make sure the font reflects the textures and features of the image

Specific Feedback : He noted that my initial design didn’t effectively show the texture and suggested that I should incorporate the characteristics of the image, such as circles, holes, and other distinctive shapes, into the font.

WEEK 4 - 14/10/25

General Feedback : Make sure your e-portfolio is fully completed. Use fewer, larger images rather than many small ones, and include captions for each image. Follow all submission requirements carefully.

Specific Feedback : Poster approved by Mr. Vinod

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FURTHER READINGS

Book Title:

Typographic Systems by Kimberly Elam

Chapter:
Chapter 1: Axial System

In this chapter, Elam introduces the Axial System, one of the simplest typographic structures, where all elements are aligned to the left or right of a single axis. This system emphasizes clarity and balance, making it ideal for designs requiring a clear hierarchy and readability. Elam discusses how this system can create a sense of order and balance, making it ideal for designs requiring clear hierarchy and readability. The chapter includes visual examples and variations, demonstrating the versatility and application of the Axial System in various design contexts.

Fig 2.0: Typographic systems by Kimberly Elam

Book Title:

Thinking with Type by Ellen Lupton

Chapter:
Chapter 2: Letterspacing

In this chapter, Lupton delves into the nuances of letterspacing, emphasizing its importance in creating readable and aesthetically pleasing text. She discusses the historical context, technical aspects, and visual impact of letterspacing, providing practical guidelines for designers. The chapter includes examples and exercises to help readers understand and apply letterspacing effectively in their own work.

Fig 2.0: Thinking with type by Ellen Lupton

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REFLECTION

Experience

Throughout this module, I gained valuable experience exploring various typographic systems and compositional techniques. Engaging with exercises such as the Axial, Radial, Dilatational, Grid, Modular, Transitional, and Bilateral systems allowed me to understand how type can be structured to create hierarchy, balance, and visual interest. By sketching layouts, experimenting with letterforms, and digitizing them in InDesign, I developed a more practical understanding of how typographic principles are applied in real design work.

Observations

Observing real-world examples, from signage to digital media, helped me recognize the importance of context, legibility, and consistency in type design. I also found that examining images and objects for letterform inspiration provided a new perspective on the relationship between shapes, textures, and typography. Incorporating feedback from Mr. Vinod highlighted the importance of reflecting textures and characteristics from source images to create cohesive and visually engaging fonts.

Findings

My key findings from this module include the value of iteration, experimentation, and attention to detail in typographic design. I learned that type is not only a tool for communication but also a medium for artistic expression, and that even small adjustments in spacing, alignment, or curvature can dramatically affect the readability and aesthetic of a design. Overall, this module has strengthened both my technical skills and conceptual understanding, equipping me to approach typography with greater confidence and creativity.