Advanced Typography | Task 1 - Exercises
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|| Tee Zi Tong, 0366165
|| Advanced Typography
|| Task 1: Exercises
CONTENT LIST
3. Task Progressions
7. Reflections
8. Further Readings
LECTURER NOTES
Text aligns along a straight line (vertical/horizontal/diagonal).
- Can use multiple axes for dynamic layouts.
Elements radiate outward from a central point.
- Creates circular or sunburst-like compositions.
Text curves around a central circle, expanding outward.
- Often used in spirals or concentric layouts.
No strict rules—placement is unstructured and freeform.
- Works for experimental or chaotic designs.
Uses columns and rows for organized alignment.
- Common in magazines, websites, and print media.
Repeats standardized shapes (like blocks or tiles).
- Great for posters and packaging design.
Text flows in soft, layered bands (no rigid lines).
- Mimics natural, uneven arrangements.
- Symmetrical layout (mirrored left and right).
- Classic and formal, often seen in invitations.
1. Emphasis
Makes key elements stand out visually
Techniques: Size variation, bold/italic styling, color contrast
2. Isolation
- Creates focus through strategic placement and white space
Example: High-contrast text (black on white) for maximum legibility.
3. Repetition
- Establishes visual consistency through recurring elements
Applies to: Font choices, color schemes, graphic elements
4. Symmetry & Asymmetry
- Symmetry: Mirror-image balance (formal/traditional)
Asymmetry: Dynamic balance through uneven weighting.
5. Alignment
- Creates order through intentional element positioning
Types: Left, right, center, or justified alignment.
6. Perspective
Creates depth through size/position relationships
Example: Large foreground text with smaller background text
Rule of Thirds
Divide your page into 3x3 grid → Place focal points where lines cross.
Most Used System: Grid (Swiss Style)
Versatile, clean, and organized (like Instagram layouts).
Modern designs also use asymmetry, radial, and repetition for energy.
Cool Variations:
Environmental Grid - Arrange text to match real structures (text following building shapes).
Form & Movement - Use grids to create "animation" across pages (like flipping book pages)
Historical Context of Handwriting and Typography
- Handwriting serves as the foundation for mechanically produced letter forms, influencing form, spacing, and conventions in typography.
- The Latin alphabet's origins trace back to 1750 BCE, evolving from proto-Sinaitic scripts and hieroglyphics to sound-based writing systems, marking a significant shift in written language.
- Cuneiform, developed around 3000 BCE, was one of the earliest writing systems, while Egyptian hieroglyphics combined ideograms and phonetic characters, influencing later alphabets.
- The Phoenician alphabet influenced Greek writing, which later shaped the Latin script. Greek letters were initially written without fixed reading directions.
- Under Charlemagne, the Carolingian minuscule standardized writing in Europe, leading to the development of lowercase Roman type.
- The Brahmi script, originating around 450 BCE, influenced many modern Indian scripts, showcasing the interconnectedness of ancient civilizations.
- The Indus Valley Civilization's script remains undeciphered, while the Brahmi script is foundational for many South Asian writing systems.
- Indian scripts, particularly the Pallava script, significantly impacted writing systems across Southeast Asia, demonstrating cultural exchanges.
- The rise of digital technology has led to the revival and digitization of indigenous scripts, allowing for greater representation of local languages.
- Designers are encouraged to explore their cultural heritage and historical contexts to create original works, rather than appropriating Western styles.
- The current digital landscape offers opportunities for designers to develop and digitize local scripts, ensuring their survival and relevance.
- The lecture emphasizes the importance of looking inward to inspire creativity and originality in design, advocating for a deeper understanding of local histories and cultures
- Designing typefaces is essential despite the abundance of existing fonts due to social responsibility and the need for artistic expression.
- Type designers have a moral obligation to address specific needs and solve problems through their designs.
- Known for creating the Frutiger typeface for the Charles de Gaulle Airport, focusing on legibility and functionality.
- Designed Verdana for Microsoft, emphasizing legibility on screens, particularly at small sizes.
- Created the Johnston Sans typeface for the London Underground, aiming for a unified identity across various signage.
- The type design process involves research, sketching, digitization, testing, and deployment.
- Understanding type history, anatomy, and terminology is crucial for effective type design.
- Designers must consider the purpose of the typeface, whether for signage or digital use, which influences design decisions.
- Rigorous testing is vital to refine typefaces and ensure they meet legibility and readability standards.
- Prototyping helps identify issues that may not surface during initial design phases.
- Typefaces should be constructed using grids and shapes to maintain consistency and visual appeal.
- Visual corrections are necessary for elements like overshoots and spacing to ensure uniformity.
- Designers may be driven by intrinsic motivations (personal interest or identifying a gap) or extrinsic motivations (commissions or assignments).
- Successful type design requires deep investment in the idea and understanding of stakeholder needs.
INSTUCTIONS
TASK PROGRESSIONS
For the axial system, I tried several different positions and orientations of the axis, placing text on both sides of the axis. I tested two upright vertical axes, with the first design adding a semicircle in the middle. For the title, I used a large and bold font, as this is what you will notice first.
Fig 2.2.2, Attempt for Radial System (Week 1, 25/4/2025)
7.Transitional System
I found this reference image on Pinterest, and I was intrigued by the idea of extracting letterforms from the wrinkles on the elderly woman's face.
Week 1:
General Feedback: Mr. Vinod introduced us to the
MIB and carefully walked us through Task 1 to ensure clarity for everyone.
After the explanation, we had time to go through the lecture recording and
refine our portfolios accordingly.
Specific Feedback: N/A
Week 2:
General Feedback: Unfortunately, I was unable to attend this week due to sickness. However, I caught up by checking the assigned tasks on Teams and ensured they were completed before the next class.
Specific Feedback: N/A
Week 3:
General Feedback: I didn’t attend today, but I have completed Exercise 1 and need to continue with Exercise 2. I will finish it before the Week 4 class.
Specific Feedback: N/A
Experience
These exercises were a great introduction to typography. I explored different typographic systems like axial, radial, random, and modular, trying multiple layouts for each. Learning to curve text in InDesign and testing shape-based structures helped me understand layout principles better. I especially enjoyed Exercise 2—extracting letterforms from an image of an elderly woman's wrinkles and refining them in Illustrator using the Bradley Hand ITC typeface as reference. I then used that same image, edited in Photoshop, as the background for my final movie poster.
Observations
I noticed how important details like alignment and margins are in creating a clean layout. Feedback from class helped me catch small issues and improve. I learned that using repetitive shapes or patterns from an object makes for stronger, more cohesive letterforms. Creating type from image features adds personality and meaning to the design. I also realized that stepping out of my comfort zone and experimenting more led to better outcomes.
Findings
I now understand that type design goes beyond aesthetics—it communicates mood and meaning. Extracting forms from images helped me see how everyday visuals can inspire unique letterforms. I also found that trying multiple drafts and layouts leads to stronger results. Overall, these tasks improved both my creative thinking and technical design skills.
Typographic Design: Form and Communication by Rob Carter (6th Edition)
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I read Rob Carter's Typographic Design in the second week of this module to deepen my understanding of visual communication through type.
Key notes:
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Typography is not just about legibility—it’s also about expression and communication of tone and mood.
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The book explores the fundamental elements of typographic design, such as hierarchy, contrast, alignment, and spacing.
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It includes historical evolution of type, from movable type to digital typefaces, which helped contextualize current design practices.
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Grid systems are emphasized as crucial for clarity and consistency, especially in editorial design.
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Projects and case studies provided real-world examples of type usage in branding, posters, and interactive media.
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This book is comprehensive and practical—it not only covers theory but also application. The visuals were helpful, and the design exercises made it easier to grasp difficult concepts.
The Vignelli Canon by Massimo Vignelli
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I read The Vignelli Canon in the third week as a way to explore minimalist and modernist design principles from one of the greats.
Key notes:
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Vignelli believes in timeless design, where form follows function and clarity is paramount.
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He advocates for a limited typographic palette—only a few well-chosen typefaces used consistently to maintain order.
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The canon promotes structure through grids and modular systems, echoing the Swiss Style principles.
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Vignelli emphasizes semantic, syntactic, and pragmatic design: meaning, structure, and usability.
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He highlights the importance of discipline and coherence in design choices.
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This book felt more like a philosophical and ethical guide to design. It's succinct, elegant, and filled with conviction. A must-read for understanding the "why" behind minimalist design decisions.
Computer Typography Basics by David Creamer
Key notes:
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The book serves as a practical guide for designers working with digital tools like Adobe InDesign, Illustrator, Quark, and others.
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It focuses heavily on the mechanics of type: spacing (kerning, tracking, leading), alignment, and justification.
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Emphasis is placed on the role of grids and margins in software settings to maintain visual consistency.
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It also touches on file preparation for output — particularly in prepress and print environments.
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There’s a clear explanation of type formats (TrueType, PostScript, OpenType), which is crucial for understanding font compatibility and performance across systems.
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Practical usage tips for typographic software tools are included, making it highly applicable for production environments.
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Overall, this book is more technical than theoretical. It bridges the gap between design principles and professional publishing workflows. Highly useful for anyone preparing files for print or working in a design production setting.
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