Task 1 | Exercises
LIST OF CONTENTS:
MODULE BRIEF
LECTURE NOTES
According to Kimberly Elam, eight major typographic organisational sms—axial, radial, dilatational, random, grid, modular, transitional, and bilateral— prioritise clear communication alongside hierarchy, reading order, legibility, contrast, and visual impact. The eight systems are:
1. Axial System
Elements are aligned along a single vertical or horizontal axis, creating a clear directional flow.
2. Radial System
Components extend outward from a central focal point, guiding the eye in a circular pattern.
3. Dilatational System
Similar to radial, but elements radiate in concentric circles, emphasising expansion from the centre.
4. Random System
Elements appear without an obvious pattern or relationship, introducing spontaneity and tension.
5. Grid System
Content is structured within a network of intersecting vertical and horizontal lines, ensuring consistent alignment and rhythm.
6. Transitional System
Layers of overlapping bands or strips create an informal, dynamic flow between sections.
7. Modular System
Pages are built from standardised, repeatable units—each identical size or shape—allowing flexible yet coherent layouts.
8. Bilateral System
Text and elements are mirrored symmetrically on either side of a central axis, producing formal balance and stability.
Asymmetrical Layouts
Random Arrangements
Repetition-Based Structures
Dilatational Systems (radiating from a point)
Radial Systems (circular arrangements)
These approaches introduced flexibility, rhythm, and energy into typographic compositions. Designers also explore alternative systems to organie and structure visual content in more experimental and expressive ways.
1. Enviromental Grid
This system is derived from analyzing existing structures—such as architecture, paintings, or interior spaces. Designers extract key lines, both curved and straight, from these references to build a unique "superstructure." Information is then arranged around this structure, integrating abstract and non-objective elements to produce compositions rich in texture and visual interest.
Fig 2.2 Enviromental Grid (Week 2, 29/04/2025)
2. Form & Movement
This method begins with a traditional grid but encourages experimentation and flexibility. It challenges the rigid perception of the grid, promoting creative play in layout. Designers treat each page as part of a sequential narrative—like frames in a slowed-down animation—where the placement of images, text, and color shifts fluidly across spreads, creating motion and rhythm throughout the design.
The first mechanically produced letterforms were designed to mimic handwriting. The style of hand-drawn letters was influenced by the tools and materials used - such as sharpened bones, charcoal sticks, plant stems, brushes, feathers, and steel pens. Creating written texts in earlier times required a lot of time, effort, and money, which made handwritten work highly valuable. Today, companies like Google are producing more vernacular and multi-script typeface to support diverse languages and contexts where both vernacular and Latin scripts are used.
Evolution of the Latin Alphabet:
Cuneiform (c. 3000 B.C.E.):
Earliest known writing system
Created by pressing a reed stylus into wet clay
Evolved from pictograms
Hieroglyphics (2613–2160 B.C.E.):
Egyptian writing combined with relief carving
Used ideograms, phonograms, and determinatives
Early Greek (5th Century B.C.E.):
Adapted Phoenician script and added vowels
Read in boustrophedon style (alternating direction)
No serifs
Roman Uncials:
Letters became rounded for faster writing
English Half Uncials (8th Century):
Slanted and more condensed
Blackletter (12th–15th Century):
Dense, decorative script style
Movable Type (11th–14th Century):
First used in China, Korea, and Japan
Korea developed bronze movable type
Led to the creation of Hangul (한글)
Evolution of Other Writing Systems:
Middle Eastern Alphabets:
Used phonetic sounds in letters
Influenced by Egyptian writing systems
Fig 2.3.2 Evolution of Middle Eastern Alphabet (Week 3, 06/05/2025)
Chinese Script Evolution:
Oracle Bone → Seal Script → Clerical → Traditional → Simplified
Fig 2.3.3 Evolution of Chinese Script (Week 3, 06/05/2025)
Indus Valley Civilization Script:
Oldest known South Asian writing
Still undeciphered, likely logo-syllabic
Brahmi Script (450–350 B.C.E.):
First major writing system in India after the Indus script
Influential across South and Southeast Asia
Southeast Asian Scripts:
Indian-origin scripts in Southeast Asia:
Pallava (used for Sanskrit and Tamil)
Pra-nagari
Jawi Script:
Arabic-based script used in Malay-speaking regions
Local Movements and Type Design:
murasu.com, Huruf, Ek Type, Indian Type Foundry:
Focus on developing typefaces rooted in local culture and history
Emphasize cultural relevance over imported design styles
Encourage creativity by observing and reflecting on local traditions and communities
Type Design is not only an artistic expression but also carries a significant social responsibility. Designers must continuously improve legibility to ensure that type serves its practical purpose - clear communication. Several iconic typefaces were born out of very specific needs and limitations, reflecting this balance between function and form.
One such example is Frutiger, designed by Adrian Frutiger in 1968. Created specifically for the newly built Charles de Gaulle International Airport in France, the typeface was designed to be clean, distinctive, and legible from both a distance and close up. Frutiger had to consider difficult viewing conditions such as poor lighting and the fact that people would often be moving quickly past signage. His earlier work, Univers, also demonstrated a systematic and modern approach to sans serif typography.
Another important typeface is Verdana, designed by Matthew Carter to solve technical challenges related to screen readability. Unlike traditional typefaces that derive their shapes from the pen, brush, or chisel, Verdana was influenced by the pixel grid. It includes clear differentiation between commonly confused characters like lowercase "i","j", and "l", making it especially effective in digital enviroments.
Johnston Sans, designed by Edward Johnston, played a key role in shaping the identity of London's Underground railway system. Johnston was tasked with creating a typeface that combined "bold simplicity" with a sense of tradition. Drawing from classical Roman proportions and infusing humanist warmth, he created a typeface that has remained iconic. A key challenge was uniting the identity of different rail companies that shared infrastructure.
General Process of Type Design:
Research
Understanding type history, anatomy, conventions, and technical aspects like side bearings, metrics, and hinting is essential. Designers must also define the typeface’s purpose—whether it’s for school buses, signage, or editorial use—and analyze existing typefaces for reference and context.Sketching
Designers often begin with traditional tools like ink, pens, or brushes before scanning sketches for digital work. Others use digital tools such as Wacom tablets to sketch directly into font design software. While faster and more consistent, digital-only sketching can limit the natural flow of hand-drawn strokes.Digitalisation
Software like FontLab or Glyphs App is used to construct the typeface digitally. Equal focus is placed on the letterforms and the negative space (counter forms) to ensure visual harmony.Testing
The typeface is tested and refined to identify and fix legibility issues. Its effectiveness depends on the typeface’s category—whether it’s for display, body text, or decorative use.Deployment
Once released, unforeseen issues may appear that weren’t evident during prototyping. This is why thorough testing is essential, so that any "teething" problems are minor and manageable.
Typeface Construction
The construction of Roman capitals often follows a structured geometric method. A square grid contains a circle that touches each side of the square, with a central rectangle measuring three-quarters of the square’s width. These guides help define proportions and stroke placement in a systematic way.
When building typefaces, letterforms are typically divided into uppercase and lowercase groups. Designers apply visual corrections, such as slightly extending curved shapes beyond the baseline or cap height to achieve optical balance. Uniform letter spacing isn’t achieved by equal physical space but by creating a consistent visual white space—a process called fitting.
Motivation Behind Type Design
Most typefaces are created out of a specific need or demand, which can be categorized into two types:
Intrinsic Motivation:
The designer feels a personal or creative urge to design a typeface. This might come from identifying a gap in existing type options or simply from a desire to create something unique.Extrinsic Motivation:
The designer is commissioned for a project or tasked with creating a typeface as part of a brief, course, or assignment. In these cases, the typeface must fulfill specific goals or solve particular problems.
EXERCISES
1. Axial System
After doing some research on axial systems, I chose three axises to try in InDesign. I firstly added in the important information; ie, the lecture title and timing information.
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| Fig 3.1 Axial System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.1.2 Axial System, Process Phase 2 (Week 3, 06/05/2025) |
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| Fig 3.1.3 Axial System, Process Phase 3 (Week 3, 06/05/2025) |
2. Radial System
For designing the radial system, I found it difficult to arrange the text and information on the surrounding of the circle both neatly and in a way that is easily read and understood by the viewer. I landed on putting two circles at the opposite corners. Then I laid the information around the circle. Once I was happy with the layout of the text, I played around with the colour and the radial circles.
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| Fig 3.2 Radial System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.2.1 Radial System, Process Phase 2 (Week 3, 06/05/2025) |
3. Dilatational System
Next, I added in the rest of the information into the spreads and adjust the layout slightly.
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| Fig 3.3 Dilatational System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.3.2 Dilatational System, Process Phase 2 (Week 3, 06/05/2025) |
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| Fig 3.3.3 Dilatational System, Process Phase 3 (Week 3, 06/05/2025) |
4. Random System
I think for random design, it might have been the hardest system for me. I personally like to have structure in my designs, and this system requires the designer to make all structure obsolete.
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| Fig 3.4 Random System, Process Phase 1 (Week 3, 06/05/2025) |
After laying out the larger information, I started adding in the other information. For this specific system, I used all the fonts allowed to try and create a sense of randomness in the design.
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| Fig 3.4.2 Random System, Process Phase 2 (Week 3, 06/05/2025) |
5. Grid System
In terms of the grid system, I have difficulty in that I continuously confuse the grid and modular systems. Based on my research, for grid systems, elements can span multiple columns and or rows in various combinations. It's versatile and it allows for hierarchy.
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| Fig 3.5 Grid System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.5.2 Grid System, Process Phase 2 (Week 3, 06/05/2025) |
6. Transitional System
I was confused about what exactly the transitional system is. Is it playing with wave patterns, or is it hierarchy? Or is it both? So taking inspiration from my online reserach, I decided to do a combination of both.
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| Fig 3.6 Transitional System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.6.2 Transitional System, Process Phase 2 (Week 3, 06/05/2025) |
7. Modular System
As mentioned before, I frequently confuse grid and modular systems. From what I have gathered, I have come to understand that the modular system uses strict, equal-sized blocks that creates a uniform pattern across the design. Everything is confined to modular blocks — no overlapping, no spanning multiple sections in varied ways. Catalogs, dashboards, and infographics uses this system most frequently.
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| Fig 3.7 Modular System, Process Phase 1 (Week 3, 06/05/2025) |
After trying out two slightly differing layouts, I added in colours as well as boxes to emphasise the modular blocks. Using red and black to create emphasis, while white provides a contrast.
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| Fig 3.7.2 Modular System, Process Phase 2 (Week 3, 06/05/2025) |
8. Bilateral System
For bilateral system, I found it the easiest to do out of all the systems. I just had to make sure that what ever design I did, that it was proportional and balanced.
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| Fig 3.8 Bilateral System, Process Phase 1 (Week 3, 06/05/2025) |
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| Fig 3.8.2 Bilateral System, Process Phase 2 (Week 3, 06/05/2025) |
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| Fig 4.1 Axial System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.2 Radial System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.3 Dilatational System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.4 Random System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.5 Grid System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.6 Transitional System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.7 Modular System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.8 Bilateral System, Final Outcome (Week 3, 06/05/2025) |
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| Fig 4.9 Typographical Systems, Final Outcome Compilation (Week 3, 06/05/2025) |
Part 1 : Finding Type
[First Iteration]
We were asked to select an image of a man made object, structures or something from nature. Then we need to analyse, dissect and identify potential letterforms within the dissected image. The forms would be explored and ultimately digitized. For this exercise, I wanted to try out either mountain ranges or a gothic-esque church. Ultimately, I decided to go with the gothic church as it peaked me with the tight corners and sharp lines along with the almost scallop-like detailing.
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| Fig 5.4 Type Image (Week 4, 13/05/2025) |
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| Fig 5.4.2 Type Extraction (Week 4, 13/05/2025) |
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| Fig 5.4.3 Extracted Letterform (Week 4, 13/05/2025) |
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| Fig 5.4.4 Reference Font (Week 4, 13/05/2025) |
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| Fig 5.4.5 Refinement Process (Week 4, 13/05/2025) |
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| Fig 5.4.6 Refined Letterform (Week 4, 13/05/2025) |
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| Fig 5.5 Second Extraction (Week 4, 16/05/2025) |
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| Fig 5.5.2 Second Extracted Letterform (Week 4, 16/05/2025) |
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| Fig 5.5.3 Second Reference Font (Week 4, 16/05/2025) |
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Fig 5.6 Final Image & Extraction (Week 4, 16/05/2025)
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| Fig 5.6.3 Final Overall Process (Week 4, 16/05/2025) |
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Fig 5.6.4 Final Extraction (Baseline) (Week 4, 16/05/2025)
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| Fig 5.7.4 Movie Poster Reference (Week 4, 16/05/2025) |
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Fig 5.8 Final Movie Poster (Week 5, 21/05/2025)
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Fig 5.9 Final Image & Extraction
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Fig 5.9.3 Final Overall Process
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Fig 5.9.4 Final Extraction (Baseline)
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