Advanced Typography - Task 1: Exercises

21/9/2025-11/10/2025 ( Week 1- Week 3 )

Choong Yee Leng || 0381980

Advanced Typography || Bachelor Degree in Creative Media || Taylor’s University

Task 1: Exercises

1. Lectures

2. Instructions

3. Process Work: Task 1A

3.1 Research

3.2 Ideation

3.3 Final Outcome

4. Process Work: Task 1B

4.1 Research

4.2 Ideation

4.3 Final Outcome

5. Feedback

6. Reflection

7. Further Reading

Lectures

Week 1: Typographic systems

-Axial

-Radial

-Dilatational

-Random

-Grid

-Modular

-Transitional

-Bilateral

Figure 1.1 Typographic systems (week 1 25/9/2025)

Figure 1.2 Typographic systems (week 1 25/9/2025)

Week 2: Typographic Composition

Principle of design composition

Dominant design composition: emphasis, isolation, repetition, symmetry and asymmetry, alignment.

These principles are more likely applicable in visual images than typographic.

However, there are also some principles that are more easily translatable than the others.

Figure 1.3 Design composition (week 2 30/9/2025)

Typographic system:

Figure 1.4 Typographic system (week 2 30/9/2025)

Other systems:

Figure 1.5 Other system (week 2 30/9/2025)

Week 3: Context & Creativity

Handwriting

It is important to study handwriting because all the letterforms are designed by mimicking the handwritings.
The shapes and lines of the letterforms are influenced by the materials used, like clay, papyrus, palm leaf, animal skins (vellum and parchment) and paper.

Figure 1.6 Evolution of Latin Alphabet (week 3 8/10/2025)

Figure 1.7 Evolution of writing system (week 3 8/10/2025)

Figure 1.8 Evolution of writing system 2 (week 3 8/10/2025)

Figure 1.9 Evolution of Middle Eastern Alphabets (week 3 8/10/2025)

Figure 1.10 Evolution of Chinese Scripts (week 3 8/10/2025)

Indus Valley Civilization (3500–2000 BCE):

The undeciphered Indus script shows logo-symbolic qualities and suggests advanced civilization with rich cultural and urban planning achievements.

Figure 1.11 Indus Valley Civilization Scripts (week 3 8/10/2025)

Brahmi Script (circa 450 BCE):

Brahmi is the parent of most Indian and Southeast Asian scripts, possibly influenced by Semitic scripts but with debated origins linked to the Indus script.

Figure 1.12 Brahmi Scripts (week 3 8/10/2025)

Advances in computing and increased numbers of programmers and type designers from Asia have fostered a renaissance in digitizing vernacular scripts.
Companies like Google and organizations in India and Malaysia are developing multi-script typefaces that combine Latin and vernacular scripts for bilingual communication.
Local innovators, such as Malaysian programmer Mutiny Near Native Ramen, have contributed to enabling vernacular typing on digital devices.

Week 4: Designing Type

Why design new typefaces when thousands already exist?

Social Responsibility: Typeface design carries a moral obligation to improve legibility and solve communication problems. Designers must address unmet needs or challenges in readability, especially in contexts where clarity is critical (e.g., signage in airports).
Artistic Expression: Typefaces are a form of artistic expression. Designers naturally seek to express their unique vision and creativity, making each typeface a reflection of its creator’s identity.

Typeface Designers and Their Contributions:

Figure 1.13 Frutiger Typeface (week 4 15/10/2025)

Adrian Frutiger (1928–2015): A Swiss designer renowned for advancing typography into the digital era. His famous typefaces include Frutiger, Avenir, and Univers. Frutiger was originally created in 1968 for Paris’s Charles de Gaulle Airport, designed to be extremely legible from various distances and under poor lighting. His methodology included testing blurred letters to assess legibility, a precursor to empirical usability testing in type design

Figure 1.14 Verdana Typeface(week 4 15/10/2025)

Matthew Carter (Born 1937): British designer and son of Harry Carter, a Royal Designer for Industry. Carter’s career spanned punch cutting, phototypesetting, and digital typography. He designed fonts like Verdana (1996) and Georgia, created specifically for screen legibility at small sizes, addressing technical challenges posed by early computers. He also designed Bell Centennial, optimized for fast, low-quality newsprint printing, featuring “ink traps” to prevent ink blotting.

Figure 1.15 Johnston Sans Typeface (week 4 15/10/2025)

Edward Johnston (1872–1944): Creator of the iconic Johnston Sans typeface for the London Underground in 1916. Commissioned to unify the diverse typefaces used across different branches of the Underground, Johnston combined classical Roman proportions with humanist warmth, rooted in tradition yet modern in simplicity. His work inspired Eric Gill’s Gill Sans, which closely resembles Johnston’s design but gained more commercial fame.

Typeface Design Process:

Research: Understanding type history, anatomy, and conventions is crucial. Designers study existing typefaces for context and inspiration, analyze usage patterns, and identify gaps or needs.
Sketching: Many designers start with hand-drawn sketches using traditional tools (brush pens, ink, paper) to maintain natural stroke movement and control. Others use digital tools like Wacom tablets for quicker, more precise work. Both methods have pros and cons related to speed, control, and expression.
Digitization: Font creation software (e.g., FontLab, Glyphs app) is used to refine letterforms and generate digital fonts. Purists discourage starting with vector tools like Adobe Illustrator because fine control over letterform nuances and counter forms (the space inside and around letters) is essential.
Testing and Prototyping: Rigorous testing identifies legibility and readability issues. Prototyping allows designers to gather feedback from users and stakeholders, refining the font before full deployment. Testing varies depending on whether the font is intended for display or body text; display fonts allow more expressive forms, while text fonts prioritize functionality.
Deployment and Revision: Even after release, fonts often undergo revisions to fix unforeseen problems. Typeface design is iterative and ongoing.

Technical and Visual Considerations in Typeface Construction:

Type Anatomy and Construction: Roman capitals, for example, are constructed on grids of squares and circles, with careful proportions. The rectangle inside the square grid often measures three-quarters the square’s size, serving as a guide for letterform construction.

Figure 1.16 Construction gird for Roman Capitals (week 4 15/10/2025)

Grouping Characters by Form: Letters can be grouped by shapes (round, rectangular, diagonal), allowing designers to apply similar construction principles across multiple characters, speeding up the process.
Visual Corrections (Overshoot): Curved and protruding parts of letters extend slightly beyond baseline or cap height for optical balance since purely geometric alignment often appears visually off. This technique, called “overshoot,” ensures that curved letters don’t appear smaller than their angular counterparts.
Spacing and Kerning: Equal spacing between letters is not visually uniform due to differing shapes; designers adjust the spacing to create a consistent “white space” rhythm, called fitting, which greatly affects readability.
Counterforms: The shapes and sizes of the empty spaces inside and around letters (counters) strongly influence legibility. For example, Verdana’s success lies not just in stroke thickness but also in carefully designed counters.

Figure 1.17 Classification according to form and construction (week 4 15/10/2025)

Instructions

Document 2.1 (week 2 30/9/2025)

Process Work: Task 1A

3.1 Research

I decided to explore Russian Constructivism as my theme. After going through the readings provided by Mr. Vinod and examining several online examples, I gained a clearer understanding of the key characteristics of Russian Constructivism, which include:

The use of geometric forms and structured compositions
A focus on symmetry and bold visual hierarchy
Eye-catching layouts that were often used in propaganda posters
High contrast color palettes, especially the combination of black and red
The use of sans-serif typefaces, symbolizing revolution and modernity while ensuring clear and direct communication to the public

Figure 3.1 Mood board (week 1 25/9/2025)

3.2 Ideation

Axial system

Figure 3.21Axial system attempting (week 2 30/9/2025)

In my first attempt, I misunderstood the concept of the axial system, assuming that the information only needed to align with any axis, regardless of the number of axes used. Based on that interpretation, I initially arranged the information along the sides of a triangle.

After receiving feedback:

I realized my mistake and redesigned the layout so that all information aligned along a single axis:
I chose to develop the composition using a stair-like axis to create a clearer visual hierarchy, guiding the viewer on where to look first.
I reduced the graphical elements by minimizing the size and quantity of triangles, using them solely as visual guides.
To further enhance hierarchy, I differentiated the lecturer names and time details through variations in font type and size, ensuring a more organized and readable design

Dilatational System

Figure 3.22 Dilatational system attempting (week 2 30/9/2025)

Initially, I planned to create a more unique design by incorporating multiple circles that were visually connected to each other, using a red circle to establish contrast and emphasis.

After receiving feedback:

I was advised to remove the large graphical elements, especially the circles, as they distracted from the main content. In response, I removed all the circles and instead applied red to the text to maintain contrast in a cleaner way.
I also noticed that the location information at the top appeared too close to the main circular area, so I reduced its size and adjusted the text leading for better spacing.
To improve hierarchy, I further refined the typography by differentiating the font style and size between the lecturer’s name and the time, ensuring clearer organization and readability.

Radial System

Figure 3.23 Radial system attempting (week 2 30/9/2025)

Before the feedback session, I created two different design variations. I eventually chose the second design as my final piece because the first one appeared messy and lacked visual cohesion.

After receiving the feedback:

I was advised to adjust the headline, as it was not properly aligned with the radius of the circles.
I also decided to remove the triangle element, which drew too much attention, and replaced it with a small red circle to serve as a subtle visual guide instead.
In my earlier version, I divided the information into three circles, which made the layout appear cluttered and distracting. To improve clarity, I simplified the structure into two interconnected circles, allowing the information to flow more cohesively.
For better hierarchy, I increased the font size of the date and differentiated the font style and size between the lecturer’s name and the time, creating a clearer and more organized visual order.

Transitional System

Figure 3.24 Transitional system attempting (week 2 30/9/2025)

I developed two designs based on the same structural layout, experimenting with different colors, typefaces, font sizes, and opacities to create a visual transition between each piece of information. Overall, my goal was to establish a clear visual flow that guides the audience to read the information in sequence, following the structure’s direction.

In the first design, I incorporated red tiles connected to the headline to draw attention and distinguish it from the other information. To maintain balance, I aligned the headline at the center, keeping it visually connected to the rest of the content. In contrast, the second design used a semi-transparent red headline, which was less eye-catching but created a cleaner layout. To differentiate it from the rest of the information without adding extra elements, I positioned the headline slightly farther away from the main text.

After the feedback session:

Design 1 was approved, as it demonstrated a stronger visual hierarchy and more effective organization of information.

Bilateral System

Figure 3.25 Bilateral system attempting (week 2 30/9/2025)

In this design, I decided to align and separate the information along two axes. The red circle serves as a visual guide, helping the audience quickly understand the layout, where the information radiates outward from the center.

After the feedback session:

I was advised not to design the layout at a 45-degree angle, as it tends to appear visually unbalanced. Therefore, I adjusted the overall rotation to 0 degrees to achieve a more stable and symmetrical composition.
To enhance hierarchy, I differentiated the font style and size between the lecturer’s name and the time and adjusted the font size of the location information to ensure “Taylor’s University” stands out first and is easily noticeable.

Modular System

Figure 3.26 Modular system attempting (week 2 30/9/2025)

In this design, the modular system is structured around four rectangular boxes arranged in each row. I created a duplicate of the headline with reduced opacity to make it appear more subtle, yet still effective in guiding the audience’s attention toward the main heading. Additionally, I incorporated a red triangle as a visual cue leading toward the headline, as the overall layout featured more dispersed information.

After receiving feedback:

I was advised not to use shapes outlined with strokes, but instead to choose either a filled or outlined shape, and to reduce the size of the triangle to avoid distraction.
I also refined the information hierarchy by differentiating the font style and size between the lecturer’s name and the time, as well as adjusting the location information for clearer readability and organization.

Random System

Figure 3.27 Random system attempting (week 3 7/10/2025)

In my first attempt, I did not yet fully understand the structure of the random system, which resulted in a design that was not approved. The circles I used were also too large and drew excessive attention, disrupting the overall balance of the layout.

During the feedback session, Mr. Vinod showed an excellent example from a senior’s work, Tressa, which greatly inspired me. From her design, I learned how to arrange information in a seemingly random yet readable way—by duplicating and repositioning the content so that it remains visually engaging and legible at the same time.

Figure 3.28 Reference from Tressa (week 2 30/9/2025)

At the same time, I also drew inspiration from a painting by Fernando Zóbel. In his work, he used lines and brushstrokes to convey rhythm and emotion. I observed how the weight and layering of brushstrokes naturally created a visual hierarchy, where thicker or denser strokes attracted more attention, while lighter ones faded gently into the background. Unlike digital lines, painted strokes reveal a more organic variation—showing where the artist intentionally reduced pressure to create a gradual transition. Inspired by this, I incorporated a paint-like stroke technique into my design to produce a natural and gradual hierarchy.

Figure 3.29 Fernando Zobel's painting (week 3 7/10/2025)

Grid System

Figure 3.210 grid system attempting (week 3 7/10/2025)

In my first design, I felt that the visual hierarchy was not strong enough, so I added several graphical elements, such as lines and circles, to serve as visual guides. This helped separate the information more clearly.

After receiving feedback:

I realized there were too many decorative elements, which made the layout feel cluttered.
I also noticed that the visual hierarchy could still be improved, so I differentiated the font style and size between the lecturer’s name, the time, and the date to establish clearer emphasis.
I realized that using too many high-contrast colors can cause visual fatigue, making it difficult for viewers to fully grasp the information and potentially leading to distraction, so I switched white as background colour.

3.3 Final Outcome

Figure 3.31 Final Axial System (JPEG) (Week 3, 8/10/25)

Figure 3.32 Final Dilatational System (JPEG) (Week 3, 8/10/25)

Figure 3.33 Final Radial System (JPEG) (Week 3, 8/10/25)

Figure 3.34 Final Grid System (JPEG) (Week 3, 8/10/25)

Figure 3.35 Final Transitional (JPEG) (Week 3, 8/10/25)

Figure 3.36 Final Bilateral System (JPEG) (Week 3, 8/10/25)

Figure 3.37 Final Modular System (JPEG) (Week 3, 8/10/25)

Figure 3.38 Final Random System (JPEG) (Week 3, 8/10/25)

Figure 3.38 Final Typographic Systems (PDF) (Week 3, 8/10/25)

Figure 3.38 Final Typographic Systems with grids (PDF) (Week 3, 8/10/25)

Process Work: Task 1B

4.1 Research

I chose “Feathers” as my theme. These are the images that I find interesting to extract letterforms from and use as inspiration for my design.

Figure 4.1 feathers images (Week 3, 10/10/25)

4.2 Ideation

1. Letterforms

I discovered that images with clear and visible borders between the feathers work better for letterform extraction, as the defined edges make it easier to identify and shape the forms.

Figure 4.2.1 Letter extraction (Week 3, 10/10/25)

Figure 4.2.2 Letter extraction stage 1 (Week 3, 10/10/25)

After extracting the letters, I noticed that each one had different visual characteristics, which made the overall composition appear inconsistent. After reading Finding Type: A Novel Typographic Exercise by Mr. Vinod, I learned that it is important to select and refine one consistent letterform style to achieve better balance and systematic coherence in the type design.

Ultimately, I chose the letter “B”, as it displayed stronger feather-like characteristics that best represented my theme.

Figure 4.2.3 Letter H refinement (Week 3, 10/10/25)

After receiving feedback that the font texture was not lively enough, I decided to further develop it based on the previous pattern. However, the outcome appeared too messy and visually unappealing. To improve it, I experimented with a new pattern and made refinements and adjustments based on it, which resulted in a cleaner, more structured, and visually balanced design.

Figure 4.2.4 Letter refinement (Week 3, 10/10/25)

2.Poster

Since my letterforms are inspired by feathers, I decided to use birds as the main concept for my movie poster. These are the images that I believe will work well with the theme.

Figure 4.2.5 Poster images (Week 3, 10/10/25)

In the end, I chose the image with sufficient negative space to allow clear placement of information. In this poster, I used yellow as a contrasting color against the blue sea background, ensuring that the headline stands out immediately. For the credits and logo, I opted for grey instead of white, as pure white appeared too dominant and could distract viewers from focusing on the main headline.

Figure 4.2.6 Poster (Week 3, 10/10/25)

4.3 Final Outcome

Figure 4.3.1 Image and Extraction (Week 3, 10/10/25)

Figure 4.3.2 Refining Process (Week 3, 10/10/25)

Figure 4.3.3 Extracted letterforms (baseline) (Week 3, 10/10/25)

Figure 4.3.4 Reference font (Week 3, 10/10/25)

Figure 4.3.5 Final Letterform (Week 3, 10/10/25)

Figure 4.3.6 Original extraction and final letterform comparison (Week 3, 10/10/25)

Figure 4.3.7 Final poster (JPEG) (Week 3, 10/10/25)

Figure 4.3.8 Final poster (PDF) (Week 3, 10/10/25)

Feedback

Week 1

general feedback:

Mr. Vinod briefed us on the overall expectations for the semester and outlined the direction of the course. For Week 1, he assigned us the task of designing eight layouts, each based on one of the eight typography systems.

Week 2

general feedback:

Mr. Vinod reviewed some students’ work and gave suggestions for improvement. He reminded us not to use too many graphical elements, but rather to apply them only to highlight important information. He also advised adjusting the size of capital letters when placed with small letters so they don’t overpower the text, and recommended using a 0.5 stroke for lines. In addition, he briefed us on Part 2 of Task 1.

specific feedback:

For the Transitional system, the work showed good hierarchy. In the Radial system, the headline should point more clearly toward the circle. The Axial system was not considered correct, as it should use only a single line. For the Modular system, he suggested removing the outline of the triangle. In the Bilateral system, the layout should not be tilted at 45 degrees, and the hierarchy of lecture information needs adjustment. For the Random system, the design was not random enough and relied too much on graphics, especially the large circle. In the Dilatational system, the black circle was found to be distracting, while in the Grid system, there were too many graphics overall

Week 3

general feedback:

Mr. Vinod reviewed several students’ works and provided suggestions for improvement. He reminded us to pay closer attention to the characteristics of the chosen object, including its strokes, shapes, and textures.

specific feedback:

He suggested observing the feather’s texture more carefully and incorporating it into the text. He also recommended arranging the texture in a more random and dynamic manner to create a livelier visual effect.

Week 4

general feedback:

Mr. Vinod reviewed several students’ works and provided constructive suggestions for improvement. He reminded us to study real movie posters for better reference and to always pay attention to visual hierarchy and readability. He also briefed us on Task 2, explaining the expectations and requirements for completion.

specific feedback:

He approved the headline for my design.

Reflection

Experience

Personally, I feel that the Advanced Typography class is more fast paced compared to the previous Typography class. I really appreciate how the feedback sessions allow everyone to reflect not only on their own work but also on others’, which helps us learn from different perspectives. Unlike last semester’s Typography class, this one place greater emphasis on creating well-developed and polished works. It encourages us to think more systematically and to produce designs that are ready to be presented to the public. We are also guided to observe and analyze successful designs that are applicable in daily life, allowing us to approach typography from various viewpoints

Observation

In Task 1A, I learned the importance of creating a well-thought-out design that is easy for readers to understand. For instance, visual hierarchy plays a crucial role in information-based design. It is essential to carefully consider the placement of information — deciding what should capture the reader’s attention first and what follows next. Other elements, such as graphics, should serve as visual guidance rather than decoration, as excessive decorative details can distract readers from the main information.

In Task 1B, I developed stronger observation skills. When creating the letterforms, I learned to closely study the textures, shapes, and characteristics of real-life objects and translate them into my design concept. Similarly, while designing the movie poster, I learned to analyze real-life examples and successful designs, identifying the key elements that make them effective and incorporating those insights into my own work.

Findings

In Task 1, I realized the importance of observation and thinking from the reader’s perspective. Elements such as visual hierarchy, readability, and overall reading comfort play a major role in creating an effective design. I also learned the value of proper time management and breaking down tasks into smaller stages. This allows me to revisit my work with a fresh perspective, often revealing issues or areas for improvement that I might have overlooked earlier in the design process. Additionally, I found that taking references and observing other people’s work is an essential part of learning. By analyzing successful designs, I can identify what makes them effective and apply those insights to strengthen my own work. This process not only helps me refine my visual judgment but also encourages me to approach design more critically and thoughtfully.

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CHOONG YEE LENG (0381980)

Advanced Typography - Task 1: Exercises

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