Advanced Typography - Task 1: Exercises

23.09.2025 - 14.10.2025 / Week 1 - Week 4

Muhammad Baihaqi Desya / 0377271

Advanced Typography / Bachelors of Design (Hons) in Creative Media / Taylor's University

Task 1 - Exercises: Typographic Systems & Type and Play

Jumplink

Lecture

Week1

"All design is based on a structural system" and there are 8 systems that can be arranged in endless ways, according to Elam 2007. Those 8 systems include=

Axial
Radial
Dilatational
Random
Grid
Transitional
Modular
Bilateral

Typographical organization is complex because it relies on communication for it to operate. Added criteria, such as= hierarchy, order of reading, legibility, and contrast is also relevant. Though the typographic systems has rules that focuses and directs the decision making. These systems may seem not seem convenient, but it helps guide designers to explore. Which will help develop a designer's intuition.

Typographical Systems:

Figure 1.1 eight typographic systems.

Axial = All elements are arranged on the left or the right side of a single axis.

Radial = All elements are spread out from a point of focus.

Dilatational = All elements are arranged along circular rings that expand from the central point.

Random = All elements are arranged without any pattern or relationship.

Grid = Clear segments that are made with horizontal and vertical lines.

Transitional = Layered pieces of information groups.

Modular = Blocks that are filled with information that is arranged to make the space look balanced.

Bilateral = Information of texts that are arranged based on a single axis.

Week 2

Typographic Compositions
[examples= emphasis, isolation, repetition, symmetry and asymmetry, alignment, perspective, etc]

>Emphasis

Figure 2.1 emphasis example

> Rule of Thirds

= a frame/space that is divided into 3 columns and 3 rows. The intersecting lines is where the important information is placed.

Figure 2.2 rule of thirds example

> Grid System

= most commonly used and has many adaptations. (the evolution of grided compositional structure of Letter Press printing)

Figure 2.3 grid system example

> Environmental Grid

= based of an existing structure (ex= architectural buildings, paintings, etc) or combined structures. The structures helps convey the message or key points because it is developed around those key points.

Figure 2.4 environmental grid example

> Form & Movement

= used to eliminate the serious manner of a grid system. To achieve engagement using this method, it needs to have variation. Major elements are introduced by minor elements to maintain the connection of each composition.

Figure 2.5 form & movement example

Week 3

Handwriting

> Evolution of the Latin Alphabet

Figure 3.1 evolution of the Latin alphabet

- Phoenician was inspired based on sounds.

> Cuneiform is the earliest system of actual writing and is the evolution of pictograms.

> Hieroglyphics can be used as ideograms, phonograms, etc.

> Early Greek write letters between 2 guidelines and organized them in horizontal rows.

> Roman Inscriptional letters served as models for calligraphers and type designers for 2.000 years.

> Roman Uncials, Roman letters were becoming more rounded.

> English Half Uncials, uncials evolved into a more slanted and condensed form.

> Carolingian Minuscule became the pattern for Humanistic writing in the 15 C.

> Black Letter has tight spacing, condensed lettering, and dominated by evenly spaced verticals.

> Middle Eastern Alphabets could possibly be influenced by the Egyptian Hieroglyphics and Hieratic Scripts.

>Evolution of Chinese Script started from the Oracle bone > Seal Script > Clerical Script > Traditional and Simplified scripts.

> Indus Valley Civilization script is the oldest writing found in the Indian subcontinent.

> Brahmi script is the earliest writing system developed in India (after Indus script).

> Pallava script is originally used for writing Sanskrit and Tamil.

> Pra-nagari is the early form of the Nagari script and used in India to write Sanskrit.

> Kawi is used to contact with other kingdoms.

> Incung is the original writing system in Kampung Kerinci.

> Rejang script is from South Sumatra.

> Batak script

> Bugis script called Lontara, from the word lontar (writing material).

> Javanese script id the medieval descendant of Kawi.

> Jawi is an Arabic-based alphabet and is introduced with the Islam religion.

Printing

> Movable Type was already practiced in China, Korea, and Japan by printing on wood blocks, then Movable Type in bronze was invented by the Koreans.

Figure 3.2 compiled script pictures

Instruction

Task

Exercise:Typographic Systems

The initial task we received was to explore the eight typographic systems and apply them to poster designs sized 200mm x 200mm, using the set of information that was provided to us.

The Design School,

Taylor’s University

All Ripped Up: Punk Influences on Design

The ABCs of Bauhaus Design Theory

Russian Constructivism and Graphic Design

Open Public Lectures:

June 24, 2021

Lew Pik Svonn, 9AM-10AM

Ezrena Mohd., 10AM-11AM

Suzy Sulaiman, 11AM-12PM

June 25, 2021

Lim Whay Yin, 9AM-10AM

Fahmi Reza, 10AM-11AM

Manish Acharia, 11AM-12PM

Lecture Theatre 12

Progress

Exercise 1
Typographic System

For the title, we had to choose from 3 diffrent titles and i choose "All Ripped Up: Punk Influences on Design"

Axial:

Figure 4.1 Axial System Result.

This poster uses the Axial Typographic System to communicate the lecture series on "Punk Influences on Design." The core choice was the strong diagonal line that runs through the composition. This unconventional orientation intentionally breaks the rules of typical poster design, directly reflecting the rebellious and dynamic spirit of punk. All the text is aligned to this axis, creating a clear visual hierarchy where the main title is dominant, and the schedule details are easily scanned. The design is kept minimalist with high contrast (black, white, and light blue) so that the structure and the typography itself deliver the message without needing complex graphics.

Radial:

Figure 4.2 Radial System Result.

This poster explores the Radial Typographic System. Unlike the strict diagonal of the Axial system, the Radial system is organized around non-concentric points and centers, creating an effect of information bursting outward. The two large blue circles and the scattered typography create a disruptive and fragmented feel, which references the chaotic and collage-like aesthetic often found in punk posters. The main title is centralized but still broken up to reinforce the theme, while the schedule is pushed to the lower corner, making the reader work to piece together the information. This design choice prioritizes a chaotic, theme-appropriate visual impact over conventional reading ease.

Dilatational:

Figure 4.3 Dilatational System Result.

This design uses the Dilatational Typographic System, which organizes information around concentric or expanding arcs. The system is built using large, circular forms to give the impression that the typography is growing outward from a central point. The main title is placed around the largest arc, forcing the eye to follow a curved path and giving the text a dynamic, almost three-dimensional appearance. The schedule information and university details are placed on smaller, lighter arcs. This creates a visually arresting and immersive feel that draws the reader into the center of the design, while the theme of Punk is still subtly referenced by the slightly skewed angle of the main title.

Random:

Figure 1.4 Random System Result.

This poster is an exploration of the Random Typographic System. The goal of this system is to entirely reject traditional hierarchy and order, resulting in a design that is visually overwhelming and intentionally difficult to read. The background is a dense, illegible texture created by repeating the lecture information randomly and overlapping the text in black. This overwhelming noise directly serves the theme of Punk, symbolizing anarchy, information overload, and visual distortion. The key event title, "All Ripped Up: Punk Influences on Design," is placed in the center using clear, spaced typography, acting as the single moment of legible focus amidst the chaotic background. This contrast highlights the main event while submerging the details in visual noise.

Transitional:

Figure 4.5 Transitional System Result.

This poster utilizes the Transitional Typographic System. This system is characterized by a balance between the highly structured order of systems like the Grid and the more dynamic elements of systems like the Axial or Radial. It emphasizes clear readability and strong hierarchy through size, weight, and alignment, while still allowing for one or two key elements to break strict convention.

Here, the design is predominantly left-aligned and orderly, making the information very easy to digest. The "PUNK" element is highlighted through a distinct, lighter color and larger scale to create a strong visual impact and reference the theme, while the rest of the text remains grounded in a clean, professional structure. This balance makes the poster both functional and visually engaging.

Modular:

Figure 4.6 Modular Sytem Result.

This poster is designed using the Modular Typographic System. This system relies on organizing content into distinct, self-contained blocks or modules (the colored rectangles) that can be arranged and rearranged while maintaining visual consistency.

The choice of bright teal/turquoise and solid black blocks creates high contrast and sharp visual separation between different types of information. Each module, whether containing the main title, subtitle, schedule, or university details, serves as a clearly defined unit. This system provides a bold, rigid, and structured look that still allows for a dynamic and fragmented feel, subtly nodding to the Punk aesthetic through its sharp fragmentation and strong use of color blocking. The size and color of the modules instantly establish the reading hierarchy.

Bilateral:

Figure 4.7 Modular System Result.

This poster uses the Bilateral Typographic System, characterized by its strict vertical symmetry. All elements are centered on a hidden or explicit central axis, creating a formal, balanced, and highly organized composition.

The main title is stacked and centered, and a visible guideline emphasizes the formal arrangement. The detailed lecture information is grouped below, also centered, but the line breaks and alignment are designed to be easily read from top to bottom. This system creates a sense of calmness and formality, providing a stable foundation that contrasts the aggressive "Punk" theme, thereby making the unconventional topic seem officially sanctioned and scholarly.

Grid:

Figure 4.8 Grid System Result.

This poster is based on the Grid Typographic System. This is the most structured approach, where all content is aligned to an invisible network of horizontal and vertical lines (columns and rows). This provides consistency, order, and easy readability.

The design uses a clean, multi-column grid to organize the information. The main title is given large, bold type, spanning multiple columns at the top for maximum hierarchy. Secondary information, such as the two lecture dates, is positioned neatly into separate columns at the bottom, creating clear separation and ease of scanning. The overall aesthetic is rational, highly functional, and modernist, using precision to frame the explosive topic of "Punk Influences."

Final Submission Exercise 1

Fig 4.9 Axial System Final

Fig 4.10 Radial System Final

Fig 4.11 Dilattional System Final

Fig .412 Random System Final

Fig 4.13 Transitional System Final

Fig 4.14 Modular System Final

Fig 4.15 Bilateral System Final

Fig 4.16 Grid System Final

All System:

Figure 4.17 Final Compilation of 8 System

After receiving feedback from Mr. Vinod overall from all of my design was very well made and. just a little minor changes.

Without Guides:

With Guides:

EXERCISE: TYPE & PLAY

We were told to make a letterform that resemble the image we choose, i chose to use a wave image. the reason i chose it becuase i love ocean (btw i have thalasphobia).

Figure 5.1 chosen image.

After choosing the image, i move to trace on the photo and procreate and finding the wave that having a word on it. after i search and sketch all the ocean. i finaly got all the word that i need. and here it is.

Figure 5.2 first sketch of finding the word.

After finishing my sketch to finding the letterform. i export it from procreate and put it directly in adobe ilustrator. not gonna lie the letter was so off and i need to make it more easy to read and i keep polishing until it feels more easy to read.

Figure 5.3 letterform first result.

After consultation on Week 3. Mr Vinod say overall the letterform was very align an well made. but it can be more creative putting the clash effect into the font to make it more varienty. (its optional) but Mr Vinod say it would make it more much better to make it more unique.

Figure 5.4 Letterform after Correction.

This is my attempt to change letterform like Mr.Vinod say. after done making the font next one is making a poster, and here the result.

Figure 5.5 first attempt making poster

After Consultation with Mr Vinod The main text was very tiny and need to make it more bigger, after getting consult i was straight forward to change the design and change the layout from looking like absolutely trash into much more comfort to read.

Figure 5.6 Final Outcome

FINAL TYPE & PLAY "WAVE" RESULT

Fig 6.1 Image

Fig 6.2 Exracted Letterforms On Baseline

Fig 6.3 Reference Font

Fig 6.4 Refinement Process

Figure 6.5 From sketch to digitalize version.

Fig 6.6 Poster

Feedback:

Week 4:

General Feedback: Giving Feedback for Exercise 2 Poster

Specific Feedback: The logo are too small and i need to change the layout because is to messy

Week 3:
General Feedback: Giving feedback for exercise 2

Specific Feedback: Design that i made over all was made very well but there need a little improvement. from the font that i made Mr Vinod say you can add the water clash effect.

Week 2: got feedback for exercise 1, and also giving brief for task 1 for the next week

Week 1: Brief the whole project for semester, and also giving exercise 1

Reflection:

Experiences
Working on the Typographic Systems Exercise covering Axial, Radial, Dilatational, Random, Transitional, Modular, Bilateral, and Grid systems was an insightful and experimental process. The task required arranging the same set of content across eight different structures within a strict 200mm×200mm format. This limitation pushed me to explore not only visual composition but also how structure, rhythm, and spacing influence meaning. Adapting each system to the square layout was challenging, especially for Axial and Dilatational, which required precise alignment to maintain visual balance. Despite the constraints, the exercise allowed me to better appreciate how structure defines a design’s tone and readability.

Observations
Throughout the process, I observed how each system conveyed a distinct visual personality. The Grid and Bilateral systems emphasized order and stability, ensuring clarity and legibility, while the Random, Radial, and Dilatational systems introduced energy and movement, aligning with expressive or rebellious themes such as Punk. The Transitional system served as a flexible bridge, allowing for a clear hierarchy while maintaining visual fluidity. It became clear that each system carries its own emotional and communicative power some prioritize order and comprehension, while others emphasize creativity and visual tension.

Findings
The key takeaway from this exercise is that typographic systems are not just methods of organization they are integral to a design’s identity and communication. The choice of system directly defines mood, hierarchy, and the reader’s engagement. For instance, using a Random system transforms text into texture, evoking emotion rather than conveying clear information. Moving forward, I’ve learned that before selecting typefaces or colors, I must first determine which system best aligns with the message I intend to express. Mastery in typography lies in understanding these psychological effects and intentionally using systems to guide how an audience experiences and interprets visual information.

Further Reading:

TYPOGRAPHIC SYSTEMS BOOK - KIMBERLY ELAM

Figure 10.1 Kimberly Elam Typographic Systems book

The eight typographic systems Axial, Radial, Dilatational, Random, Grid, Transitional, Modular, and Bilateral assist designers in creating typographic compositions more effectively. Their continuous flow allows comparison between each system and encourages viewers to notice the subtle visual details in typography. These systems have the ability to attract readers’ attention and communicate deeper meanings.

Axial: elements are organized along either side of a central axis.
Radial: elements expand outward from a single focal point.
Dilatational: elements follow a circular path radiating from a center.
Random: elements are placed without a clear relationship or order.
Grid: a structured layout built on intersecting vertical and horizontal lines.
Transitional: overlapping layers of information arranged without strict structure.
Modular: information is grouped into structured, block-like sections.
Bilateral: text is aligned symmetrically along a central axis.

Finding Type: A Novel Typographic Exercise

Figure 10.2 Kreatif Beats website

Steps:

Find an image: Choose one with a repetitive pattern and minimal elements for easier analysis.
Deconstruct: Outline the image’s lines, textures, and shapes to understand its structure.
Identify letterforms: Look for shapes within the image that resemble or can be interpreted as letters.
Extract letterforms: Highlight and analyze the shared visual features among the identified letterforms.
Find a reference: Search for an existing typeface that closely matches the characteristics of your letterforms.
Refine: Ensure that all letterforms are visually consistent and maintain a cohesive style.

Typographic Design: Form and Communication

Figure 10.3 Typographic Design book

Chapter: The Evolution of Typography

Typography represents the evolution of the written word, deeply connected to the history of visual communication. It has progressed through various stages from manual craftsmanship to mechanical innovation and finally to digital creation. The journey began over 5,000 years ago with the earliest forms of writing, followed by centuries of hand-press printing and handset metal types. The Industrial Revolution marked a turning point, introducing new typographic styles and technologies. Later, the modernist era refined typography into a form driven by clarity and function. Today, digital advancements have opened limitless possibilities for typographic expression and design.

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Muhammad Baihaqi Desya (0377271)