Advanced Typography - Task 1: Exercises
23 September 2025 - 19 Oct 2025 ( Week 1 - Week 4 )
Hsu Myat Wati | 0381660 | Bachelor of Design (Hons) in Creative Media
Advanced Typography | Taylor's University
Table of contents
1. LECTURES
Week 1: Typographic Systems
8 major variations ( an infinite number of variations )
- Axial
- Radial
- Dilational
- Random
- Grid
- Modular
- Transitional
- Bilateral
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| Fig 1.1 - Typographic Systems ( Week 1 - 24 Sept 2025 ) |
Axial System: All elements are organised to the left or right of a single axis.
Note:
- The axis can be vertical, horizontal, or diagonal,
- Straight, curved, or zigzag
- Symmetrical or asymmetrical
Radial System: All elements are extended from a point of focus.
Note:
- The text lines up like the sun radiating several rays of light.
- The text must follow the direction of the radius lines centered on the same focal point.
Dilational System: All elements expand from a central point in a circular fashion.
Note:
- Unlike the radial system, the text goes around the arc of the circle instead of radii.
- So, all the text should be in a curved form.
Random System: Elements appear to have no specific pattern or relationship.
Grid System: A system of vertical and horizontal divisions.
Note:
- This system operates with a specific number of rows and columns.
- Then, the text should be placed systematically inside the Grids that are created.
Transitional System: An informal system of layered banding.
Modular System: A series of non-objective elements that are constructed in standardised units.
Note:
- Can be confused with Grids.
- Unlike a grid, the text can obtain a certain combination of the elements and split them into different units.
Bilateral System: All text is arranged symmetrically on a single axis.
Week 2: Typographic Compositions
There are several different ways to approach typographical compositions. We also learned that in the semester one module, 'Design Principles.'
Principles of Design Composition
Emphasis, isolation, repetition, symmetry and asymmetry, alignment, and perspective are a few dominant principles we think about when it comes to compositions.
However, these abstract notions seem ambiguous when it comes to translating them into typographic layouts or composition. They seem more relevant to imagery than complex units of information that consist of different elements.
They could be divergent in theory when applying it. Some of these principles are a little more easily translatable than the others.
Example
Emphasis: Within a given space, you can have emphasis shown in 2D and also shown in the layout. If you were to look at symmetry, it is still easily translatable. However, when it comes to repetition, on the other hand, it might start becoming a little more difficult. Notions like repetition and perspective are not as easily usable under certain circumstances.
The Rule of Thirds: A photographic guide to composition suggests that a frame can be divided into 3 columns and 3 rows. The intersecting lines are used as a guide to place the points of interest within the given space.
Note: It is generally never used in typography composition, but it is still an element of composition that is used to make decisions on the placement of important information within the given space.
Typographic Systems: The Grid System (or Raster System) is the most used system out of all the 8 major typographic systems. It is derived from the grid compositional structure of letterpress printing. It was further enhanced by what has now come to be termed the Swiss (Modernist) style of Typography. Its foremost proponents are Josef Müller-Brockmann, Jan Tschichold, Max Bill, and such.
Note: The post-modernist in Typographical systems, such as chaos, randomness, and asymmetry, were explored only when the new generation was being exposed to Punk anti-establishment thought and music.
Grid System
While it may seem to be old or rigid, the versatility of the system and its (to some degree) modular nature tend to allow an infinite number of adaptations. This is why it continues to remain popular.
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| Fig 1.2 - Grid System ( Week 2 - 3 Oct 2025 ) |
Other models / Systems
Environmental Grid
Basically, anything that creates structure.
It is based on the exploration of an existing structure or numerous structures combined. An extraction of crucial lines, both curved and straight, is formed. The designer then organized his information around this super-structure, which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli.
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Form and Movement
This system is based on the exploration of an existing Grid System. The multitude of options the grid offers to dispel the seriousness surrounding the application of the grid system can be explored with this system.
- The turning of pages in a book can be seen 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, whether it is paper or screen, which is irrelevant.
In these compositional exercises, the level of complexity increases as newer elements are introduced in an incremental fashion.
- Can start with dummy text and eventually replace it with real elements.
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Week 3: Context & Creativity
Handwriting
Handwriting would become the basis or standard for form, spacing, and conventions that mechanical type would try to mimic. The shape and line of hand-drawn letterforms are influenced by the tools and materials used to make them.
- The earliest system of actual writing: Cuneiform (c 3000 B.C.E.)
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- The first link to a future alphabetic system: Hieroglyphics (2613-2160 B.C.E.)
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| Fig 1.6 - Hieroglyphics ( Week 3 - 6 Oct 2025 ) |
Potential three ways that Hieroglyphic images can be used:
1. Ideograms - to represent the things they actually depict
2. Determinatives - to show that the signs preceding are meant as phonograms / to indicate the general idea of the word
3. Phonograms - to represent sounds that "spell out" individual words
Crucial development for modern printing (Movable Type 11C--14C)
Dharani Sutra, AD 750 (1000-1100 CE): Printing (wood block) had already been practiced in China, Korea, and Japan.
- Earliest known printed book (AD 868) - The Diamond Sutra: 16' scroll with the world's first printed illustration
Late 14 C (1300-1399 CE): Koreans establish Han'gul(a foundry to cast movable type in bronze)--allowed the dismantling and resetting of text.
- Several decades before the earliest printing in Europe (Gutenberg's bible,1439)
- Pioneered in China - Achieved in Korea (Diamond Sutra)
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| Fig 1.7 - Han'gul ( Week 3 - 6 Oct 2025 ) |
Evolution of Middle Eastern Alphabets
The Phoenician letter marks a turning point in written language. The use of sound represented in letters, and the script itself, has possibly been influenced by the Egyptian Hieroglyphics and Hieratic Scripts.
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| Fig 1.8 - Evolution of Middle Eastern Alphabets ( Week 3 - 6 Oct 2025 ) |
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- From the Oracle bone to Seal Script to Clerical Script.
- Traditional and Simplified scripts.
Indian script
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Brahmi script (450-350 BCE): Earliest writing system developed after the Indus script
- Deriving all modern Indian scripts and several hundred scripts found in Southeast and East Asia
- The origin is still much debated.
Pallava: A South Indian script originally used for writing Sanskrit and Tamil
- Highly influential
- Becoming the basis for writing systems across Southeast Asia
Pra-nagari: An early form of the Nagari script for writing Sanskrit.
Kawi (Indonesia's most important historical script)
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- Based on Nagari, but indigenous to Java
- It was used for contact with other kingdoms
- Becoming the basis of other scripts in both Indonesia and the Philippines.
Jawi (Arabic-based alphabet)
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- Introduced along with Islam
- Traders taught the lower classes Jawi to engage in missionary work
- Took a while to supplant other scripts
- Never did so completely in some areas
- Used for all the famous works of literature in modern Malaysia (hikayat and Malay charm books)
Programmers and Type Design
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Software companies like Google are creating more local (vernacular) scripts by hiring many Asian programmers and designers. As a result, more "multi-script" typefaces—a term coined by Muthu Nedumaran—are being created to support writing in both local and Latin scripts.
Local Movements and Individuals
Murasu.com (Malaysia):
- Led by Muthu Nedumaran, a system was created to encode vernacular writing.
- Used in mobile phones and computers.
Huruf (Malaysia)--Local graphic design group
- Focuses on local lettering on walls and signboards
- Digitized and revived Malaysian typefaces
Ek Type & Indian Type Foundry (India):
- Developed and promoted vernacular typefaces in India
Design Movement in South East Asia
- Still unorganized, but improving with the influence of India.
- Knowledge and methods are becoming more accessible.
- Designers should draw inspiration from their own culture and history.
- True creativity starts with local observation and heritage.
2. INSTRUCTIONS
3. TASK 1
Exercise 1 | Typographic Systems
During week 1, we were asked to come up with 8 different designs for 8 major typographic systems.
I started sketching out my ideas on paper for the most complex systems.
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| Fig 3.1 - Typographic Systems paper sketches ( Week 1 - 26 Sept 2025 ) |
Then, I began to arrange digitally in InDesign. This is the first phase of the design process, and I came up with these 8 designs.
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| Fig 3.2 - Updated Axial System ( Week 2 - 1 Oct 2025 ) |
Final submission: Exercise 1
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| Fig 3.5 - Final Dilational System (JPEG) ( Week 2 - 3 Oct 2025 ) |
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| Fig 3.6 - Final Grid System (JPEG) ( Week 2 - 3 Oct 2025 ) |
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| Fig 3.7 - Final Random System (JPEG) ( Week 2 - 3 Oct 2025 ) |
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| Fig 3.8 - Final Modular System (JPEG) ( Week 2 - 3 Oct 2025 ) |
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| Fig 3.9 - Final Transitional System (JPEG) ( Week 2 - 3 Oct 2025 ) |
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| Fig 3.10 - Final Bilateral System (JPEG) ( Week 2 - 3 Oct 2025 ) |
Fig 3.11 - Final Submission_Exercise 1_Typograhic System with Grids (PDF)( Week 2 - 3 Oct 2025 )
Fig 3.12 - Final Submission_Exercise 1_Typograhic System without Grids(PDF)( Week 2 - 3 Oct 2025 )
Exercise 2 | Finding Type (Type & Play)
Chosen image
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| Fig 3.13 - Chosen image source( Week 2 - 4 Oct 2025 ) |
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Week 3 process
I tried changing the Reference Font based on the general feedback I got from my classmates.
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| Fig 3.15 - Week 3 process ( Week 3 - 7 Oct 2025 ) |
Week 4 process
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| Fig 3.16 - Week 4 process ( Week 4 - 12 Oct 2025 ) |
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 Fig 3.18 - Week 4 process ( Week 4 - 14 Oct 2025 ) |
Final submission: Exercise 2
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Fig 3.19 - Image and Extraction ( Week 4 - 16 Oct 2025 ) |
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Fig 3.20 - Overall Refining Process ( Week 4 - 16 Oct 2025 ) |
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| Fig 3.22 - Reference Font (Dancing Script) ( Week 4 - 16 Oct 2025 ) |
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| Fig 3.23 - Final Letterform ( Week 4 - 16 Oct 2025 ) |
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| Fig 3.24 - Original extraction and final letterform comparison ( Week 4 - 16 Oct 2025 ) |
Fig 3.25 - Exercise 2 Part 1 (PDF) ( Week 4 - 16 Oct 2025 )
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Fig 3.27 - Final Poster(PDF) ( Week 4 - 17 Oct 2025 ) |
4. FEEDBACKS
Week 4
General Feedback: You need to have a proper margin when doing the layout of your poster. The background should not look too realistic. You can experiment more with color and contrast — try using black and white to create a stronger effect.
Specific Feedback: Both pieces of information placed in the corners create tension. There is also too much information at the top, which makes the layout feel heavy. The background is too busy — choose either the flower or the butterfly, not both. Make the poster look more like a realistic design. There’s also too much centralization of information, so try moving the text around to achieve a better balance.
Week 3 ( I was absent, so I couldn't get my own feedback )
General Feedback (I get from my friends' work):
- Maintain consistency in shapes, patterns, and line thickness.
- Avoid too much irregularity — balance between variety and uniformity.
- Reuse similar elements or parts of letters to create visual harmony.
- Add small details or features to make designs more interesting.
- Keep patterns related and cohesive (e.g., use repeating or related shapes).
- Focus on clean, aligned outlines instead of inconsistent angles.
Week 2
General Feedback: There are too many graphical elements that distract from the main focus, which is the text.
Specific Feedback: The Axial system is wrong. The texts should be radiating from both sides along the axis.
Week 1
General Feedback: There are too many graphical elements that distract from the main focus, which is the text.
Specific Feedback: The Axial system is wrong. The texts should be radiating from both sides along the axis.
5. REFLECTIONS
Completing this task was a meaningful learning experience that deepened my understanding of how typography can influence visual communication. It allowed me to explore how different type choices, layouts, and compositions affect the overall tone and message of a design.
One of the most interesting parts was learning about typographic hierarchy and grid systems. I realized how font size, weight, spacing, and alignment work together to create balance and guide the viewer’s eye through the content. Understanding these concepts helped me see how professional designers use typography not just for readability but also for emotional and visual impact.
Analyzing various design examples also gave me a clearer sense of how typography interacts with other design elements like color, imagery, and shape. It was fascinating to see how small typographic changes can completely transform the mood and meaning of a design.
Writing and reflecting on this topic also strengthened my ability to discuss design critically and thoughtfully.
Feedback from my lecturer helped me refine the layout of my blog, use proper citations, and improve the clarity of my explanations. Overall, this task enhanced both my technical and analytical skills in typography, and I now feel more confident applying these principles to future design projects.
6. FURTHER READINGS
One book that taught me more about typography is Typographic Systems of Design by Kimberly Elam. It talks about different systems of layout like grid, radial, modular, and more. It explains how these systems can be used to inform type and image placement, and how breaking the rules can lead to more experimental designs. I utilized it to discover how to make type appear more balanced and expressive.
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