Advanced Typography: Task 1 Exercises

22/04/2025 – 06/05/2025 (Week 1 – Week 3)

Valerius Ethan Wirawan / 0372774

Advanced Typography / Creative Media / School of Design 

Task 1 (Exercises): Typographic Systems & Type & Play

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TABLE OF CONTENT

1. Lectures

2. Instructions

3. Process Work

4. Final Outcome

5. Feedback

6. Reflection

7. Further Reading

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1. LECTURES

All pre-lecture materials are the intellectual property of Mr. Vinod Nair.

1.1. Lecture 1 (AdTypo_1_Typographic Systems)

Typographic systems are design frameworks that organize text and visual elements to enhance communication. According to Kimberley Elam, there are eight primary systems:

• Axial System – Elements are aligned along a single line (axis), either to the left or right.

• Radial System – Elements radiate outward from a central focal point.

• Dilatational System – Elements expand in circular forms from a shared center.

• Random System – Elements are placed chaotically, without a clear structure or order.

• Grid System – Structured with intersecting vertical and horizontal lines for consistency.

• Modular System – Built from uniform units (modules) that can be freely arranged.

• Transitional System – Uses layered bands to organize and prioritize content informally.

• Bilateral System – Symmetrical layout where elements are centered on a vertical axis.

1.2. Lecture 2 (AdTypo_2_Typographic Composition)

Typographic Composition

Typographic composition involves the arrangement of text within a defined space, balancing form and function. It combines the creation of letterforms and the organization of large text bodies. Key design principles: emphasis, isolation, repetition, symmetry, and alignment, are essential in creating effective layouts. While applying these principles can be straightforward, their implementation in complex designs can be challenging.

Key Principles On Composition
Emphasis

Directs attention to important elements by adjusting size, weight, or placement.

Fig. 1.2.1. Emphasis Example

Symmetry and Asymmetry

Symmetry creates balance; asymmetry adds dynamism and interest.

Repetition and Perspective
Repetition brings consistency, while perspective adds depth but requires careful handling.

Rule of Thirds

Divides space into a 3x3 grid. This principle guides the placement of key elements at intersections to create a balanced layout.

Fig. 1.2.2. Rule of Thirds

Typographic System

Eight typographic systems are explored in the module, with the grid system being the most widely used. The grid system, based on letterpress printing, allows flexibility while maintaining order. The Swiss modernist style enhances the grid with visual excitement. 

Post Modern Typography

Postmodern typography rejects modernist order and embraces chaos, randomness, and expressive visuals. Designers like David Carson prioritize emotional expression over legibility, using asymmetry and distorted forms to create visually compelling designs.

Movement Typography

Movement refers to the flow of the reader’s eye across a design. It’s crucial for maintaining interest and ensuring a smooth reading experience, especially in multi-page layouts. Proper movement guides attention from one element to the next, creating rhythm and visual engagement.

Other Typography Approaches

Environmental Grid

Inspired by architecture or art, this model uses spatial relationships in the environment to guide layout.

Fig. 1.2.3. Environmental Grid Application

Form & Movement
Focuses on the dynamic relationship between form and layout transitions, ensuring a rhythmic flow across the design.

Fig. 1.2.4. Static Frame of Typographic System

1.3. Lecture 3 (AdTypo_3_Context & Creativity)

Historical Context of Handwriting and Typography

• Importance of Handwriting in Typography: Handwriting is crucial in the study of typography as the first mechanically produced letter forms were designed to imitate it. This laid the foundation for form, spacing, and conventions in mechanical type.

• Influence of Tools and Materials: The shape and line of hand-drawn letter forms are influenced by the tools and materials used, such as sharpened bones, charcoal, and various types of pens. Additionally, the writing surface (e.g., clay, wood, papyrus) also played a significant role in the evolution of letter forms.

• Evolution of the Latin Alphabet: The Latin alphabet's origins trace back to around 1750 BCE, evolving from proto-Sinaitic letter forms and hieroglyphics to a sound-based writing system in Phoenicia, which influenced Greek and subsequently Roman alphabets.

Fig. 1.3.1. Evolution of the Latin Alphabet

• Cuneiform and Hieroglyphics: Cuneiform, one of the earliest writing systems, emerged around the 34th century BCE, characterized by wedge-shaped marks on clay tablets. Egyptian hieroglyphics, developed between 2613 and 2160 BCE, combined ideograms and phonetic characters, influencing later alphabetic systems.

Fig. 1.3.2. Cuneiform & Hieroglyphics

• Greek Alphabet Development: The Greek alphabet, influenced by Phoenician letters, introduced vowels and was initially written in capital letters without fixed reading direction. This evolved into a more standardized form.

Fig. 1.3.3. Early Greek - Roman Uncials - Half English Uncials

• Carolingian Minuscule: During the 8th century, Charlemagne's reign led to the standardization of writing through the Carolingian minuscule, which became the basis for modern lowercase letters.

Fig. 1.3.4. Carolingan Miniscule

• Movable Type and Printing: The introduction of movable type in the 11th century, pioneered in China and later successfully implemented in Korea, revolutionized printing. The Korean Hangul script, developed in the late 1300s, allowed for phonetic representation and was more manageable than Chinese characters.

Fig. 1.3.5. Movable Type

• Cultural Influences and Misunderstandings: The historical contributions of civilizations like Egypt and Mesopotamia are often overlooked in Western narratives, which tend to elevate Greek and Roman achievements. This has led to a skewed understanding of historical developments in writing and typography.

• Eastern Developments in Handwriting: The evolution of handwriting in the Middle East, from Phoenician to modern Arabic scripts, shows the interconnectedness of writing systems and their influences.

Fig. 1.3.6. Evolution of Middle Eastern Alphabets & Chinese Script 

• Indus Valley Civilization: The Indus Valley Civilization (IVC) script, dating back to 3500-2000 BCE, remains undeciphered but is believed to have a logo-symbolic nature, indicating the complexity of early writing systems.

Fig. 1.3.7. Indus Valley Civilization

Historical Context of Writing Systems in South Asia and Southeast Asia

• Indus Valley Civilization (IVC): The IVC, also known as the Saraswati civilization, was highly advanced with city planning, drainage, sanitation systems, and water collection pools, showcasing a sophisticated society.

• Brahmi Script: The Brahmi script, developed around 450-350 BCE, is considered the parent script of many Indian scripts and has influenced several scripts in Southeast Asia. Its origins are debated, with some scholars suggesting it was influenced by Semitic scripts or derived from the Indus Valley script.

Fig. 1.3.8. Brahmi Script

• Cultural Exchange: Despite the lack of modern transportation, there was significant cross-cultural exchange during ancient times, leading to the development of various scripts across the Indian subcontinent and Southeast Asia.

• Influence of Indian Scripts in Southeast Asia: Indian scripts, particularly the Pallava script, were foundational in developing writing systems across Southeast Asia. The Pallava script was used for writing Sanskrit and Tamil and became the basis for many Southeast Asian scripts.

• Kawi Script: The Kawi script, derived from the Nagari script, was indigenous to Java and used for communication between kingdoms. It played a significant role in the writing of Malay languages.

Fig. 1.3.9. Kawi Script

• Modern Developments: The advent of technology has led to a resurgence in the digitization of indigenous scripts. Programmers and designers are increasingly working to create multi-script typefaces that incorporate both vernacular and Latin scripts, reflecting a growing awareness of the importance of preserving local languages and scripts.

• Creativity and Originality: Young designers are encouraged to explore their cultural histories and develop original works that reflect their heritage rather than appropriating Western styles. This approach fosters creativity and ensures the preservation of local identities in design.

• Importance of Handwriting and Historical Context: Understanding historical writing systems is crucial for contemporary design, as it allows for the creation of original works that resonate with cultural significance. The study of handwriting and local scripts can inspire new designs that honor traditional practices while embracing modern technology.

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2. INSTRUCTIONS

Fig. 2.1. Module Information Booklet (MIB)

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3. PROCESS WORK

3.1. Exercises: Typographic System

Task brief:
Use only black and one additional color, with minimal graphical elements like lines or dots.
Apply the given content while exploring the eight typographic systems (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, Bilateral). Design an artwork using Adobe InDesign with a size of 200mm × 200mm.

To start off, I made some sketches manually on a sketchbook.

Fig. 3.1.1. Typographic System Sketch (JPEG - 25/04/2025)

After sketching, I refined the idea and recreated it digitally.

Fig. 3.1.2. Axial Typographic System (JPEG - 27/04/2025)

Fig. 3.1.3. Bilateral Typographic System Sketch (JPEG - 27/04/2025)

Fig. 3.1.4. Dilational Typographic System (JPEG - 27/04/2025)

Fig. 3.1.5. Grid Typographic System (JPEG - 27/04/2025)

Fig. 3.1.6. Modular Typographic System (JPEG - 27/04/2025)

Fig. 3.1.7. Radial Typographic System (JPEG - 27/04/2025)

Fig. 3.1.8. Random Typographic System (JPEG - 28/04/2025)

Fig. 3.1.9. Transitional Typographic System (JPEG - 28/04/2025)

Fig. 3.1.10. Presented Typographic Systems Designs / In Class Feedback  (JPEG - 28/04/2025)

Here are my revised artworks after the feedback.

Fig. 3.1.11. Revised, Final Typographic Systems Designs  (JPEG - 29/04/2025)

Fig. 3.1.12. Revised, Final Typographic Systems Designs  (PDF - 29/04/2025)

3.2. Exercises: Type & Play

Task Brief:

Select a man-made object or natural element with minimal visual complexity (e.g., chair, building, leaf, river). Extract and trace potential letterforms from the image. Develop these forms from rough sketches into refined digital letterforms that retain the essence of the original source. Combine the final letterforms with the image to create a unified typographic composition where text and image interact visually and conceptually.

Fig. 3.2.1. Design Process (JPEG - 06/05/2025)

Fig. 3.2.2. In Class Submission, For feedback purpose (JPEG - 07/05/2025)

Fig. 3.2.3. In Class Submission, For feedback purpose - Revised after feedback (JPEG - 07/05/2025)

The font previously selected was used to create a poster for better visualization. Photoshop (for image processing), ChatGPT (for font research), and Illustrator (for poster design) were utilized throughout the process. I have ensured that all elements used are copyright-free.

Fig. 3.2.4. Poster Design Process (JPEG - 11/05/2025)

Fig. 3.2.5. Poster Designs (JPEG - 15/05/2025)

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4. FINAL OUTCOME

Fig. 4.1. Final Outcome 'Task 1 Ex. Typographic Systems: Axial' (JPEG - 29/04/2025)

Fig. 4.2. Final Outcome 'Task 1 Ex. Typographic Systems: Bilateral' (JPEG - 29/04/2025)

Fig. 4.3. Final Outcome 'Task 1 Ex. Typographic Systems: Dilational' (JPEG - 29/04/2025)

Fig. 4.4. Final Outcome 'Task 1 Ex. Typographic Systems: Grid' (JPEG - 29/04/2025)

Fig. 4.5. Final Outcome 'Task 1 Ex. Typographic Systems: Modular' (JPEG - 29/04/2025)

Fig. 4.6. Final Outcome 'Task 1 Ex. Typographic Systems: Radial' (JPEG - 29/04/2025)

Fig. 4.7. Final Outcome 'Task 1 Ex. Typographic Systems: Random' (JPEG - 29/04/2025)

Fig. 4.8. Final Outcome 'Task 1 Ex. Typographic Systems: Transitional' (JPEG - 29/04/2025)

Fig. 4.9. Final Outcome 'Task 1, Exercises: Typographic Systems'  (PDF - 29/04/2025)

Fig. 4.10. Final Outcome 'Task 1, Exercises: Typographic Systems' with grids (PDF - 29/04/2025)

Fig. 4.11. Final 'Task 1, Exercises: Type & Play'  (JPEG - 12/05/2025)

Fig. 4.12. Final 'Task 1, Exercises: Type & Play'  (PDF - 12/05/2025)

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5. FEEDBACK

Week 1

Task briefing, no feedback.

Week 2

Mr. Vinod did not give me direct feedback but emphasized the importance of listening to others’ critiques to develop critical judgment and improve our own work. This process helps nurture a creative mindset. From the feedback he gave to my classmates, I learned that in a modular system, consistency in unit size is crucial even if the unit changes. Dilatational layouts should avoid small circles and harsh angles. Every design element should support the overall structure, not distract from it. Random layouts still require an underlying order or organized chaos. Proper margins and clear gutters are essential, especially in grid systems. In radial systems, large center elements may be better represented with outlines to maintain balance. Bilateral layouts do not need to be perfectly centered but must feel balanced. For body text, the ideal font size is between 8 and 12 points with leading set to about 2.25 times the font size. Most importantly, a strong layout should still work even without graphics as the text alone should command the space effectively.

Week 3
Mr. Vinod reminded us to complete the feedback sheet every week. He emphasized that our images should be clear and that the refinement process must align with the image we used. Refinement begins with a proper understanding of the image’s structure and characteristics. From his specific feedback, I learned that I did the Type & Play Exercise fairly well, but there is room for improvement in the structure of the letterforms. While I understood the structure, I did not apply it consistently across all letterforms. Mr. Vinod asked me to revise the work and continue refining it.

Week 4
Mr. Vinod reminded us of the importance of using relevant images as references for our letterforms. He emphasized that our posters should show a clear interaction between the image and the typography, as some of our works lacked this connection. From his general feedback, I learned that enhancing the relationship between the letterforms and the visuals would create a more engaging composition. For Task 2A, we were briefed on creating a monogram for a visual identity. He encouraged us to start with a mind map in Week 5 and highlighted that the final monogram should be elegant, simple, and functional. A unique design would make the identity more specific and narrowly targeted. From his specific feedback on my poster, I learned that the title “Coffee” did not take command of the layout. Mr. Vinod advised me to enlarge the type to make it more prominent, and to ensure the overall composition resembles a real movie poster by including production studio elements.

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6. REFLECTION

Experience

Working on the Typographic Systems and Type & Play exercises helped me apply lecture content to hands-on design work. Exploring the eight typographic systems was engaging, each with its own challenges. I enjoyed experimenting with layouts and seeing how structure and spacing affect the overall feel. Grid and Modular systems came more naturally, while Dilatational and Random were harder to balance. Starting with sketches gave me a good base before moving into InDesign. For Type & Play, extracting letterforms from an image felt creative and made me think more deeply about the interaction between type and visuals. With more time or drafts, I believe I could’ve achieved more refined and creative outcomes.

Observation

Feedback sessions were especially useful. Even without direct comments on my work, hearing critiques for classmates helped me reflect on similar areas in my own designs. I realized the importance of consistency, especially in Modular layouts, and learned that even a “random” system still needs internal logic. Mr Vinod’s points on margins, alignment, and letterform structure guided my revisions. In Type & Play, I learned that having interesting shapes isn’t enough, the forms need to feel intentional and cohesive.

Findings

The lecture videos and notes gave me a solid understanding of the design principles behind the tasks. Concepts like hierarchy, movement, and the rule of thirds helped me plan more purposefully rather than relying on instinct. I also learned that typography isn’t just about how it looks, but how it works. These exercises highlighted areas I need to improve, especially consistency and refinement, while also boosting my confidence to explore more creative ideas in future projects.

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7. FURTHER READING

Finding Type: A Novel Typographic Exercise by Vinod Nair

Fig. 7.1. Further Reading 'Finding Type: A Novel Typographic Exercise'

Reading "Finding Type: A Novel Typographic Exercise" by Vinod Nair on Kreatif Beats gave me clearer direction for the Type & Play task. The article breaks down a creative exercise that encourages students to move away from using existing typefaces and instead explore letterforms by extracting them from images with strong visual elements. I found the step-by-step process shared by Mr. Vinod really helpful—starting from selecting an image, breaking it down into shapes, identifying possible letterforms, and then refining them to create a cohesive set.

One part that stood out to me was the focus on observation and experimentation. The article emphasized how students should study the lines, textures, and forms within the image carefully, rather than just focusing on the obvious shapes. This reminded me that the process is not just about copying what you see, but about understanding the visual language in the image and translating that into expressive letterforms.

Another thing I noted was the importance of having a reference typeface. The reference doesn’t limit creativity but helps ensure the final outcome still feels readable and consistent. I realized that while the extracted forms can evolve during refinement, they should still carry the essence of the original structure. This helped me reflect on my own project where I sometimes focused too much on making the letters look interesting but forgot about their clarity or function as a typeface.

Overall, this article helped me connect the task back to the lecture content, especially the parts about form, consistency, and the balance between creativity and functionality. It also made me more aware that refinement is not just polishing the shapes but making sure all the letters work together as a system. If I had more time, I think I would explore more variations and push my ideas further using the methods explained in the article.