Advanced Typography | Task 1: Exercises

Advanced Typography | Task 1: Exercises

21/04/2025 - 5/05/2025 | Week 1 - Week 4

Jesslyn Octavia Tjong / 0374562 / Bachelor of Design (Honors) in Creative Media

Advanced Typography / Taylors' University

Table of Contents

I.   LECTURE

II.  INSTRUCTION

III. FEEDBACK

IV. REFLECTION

V.  FURTHER READING

VI. QUICK LINKS

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I. LECTURE

Lecture 01: Typographic Systems

All designs are based on a structural system. (This sets the overarching principle) According to Elam (2007), there are eight major variations of structural systems with an infinite number of permutations. The eight variations are:

• Axial system: all elements are organized on the left or right side of a single axis.
• Radial system: all elements are extended from a point of focus.
• Dilatational system: all elements expand from a central point in a circular fashion.
• Random system: elements appear to have no specific pattern or relationship; however, there is method in the "chaos" of the random system.
• Grid system: a system of vertical and horizontal divisions.
• Modular system: a series of non-objective elements that are constructed as standardized units.
• Transitional system: an informal system of layered banding, segregating information within certain bands.
• Bilateral system: all text is arranged symmetrically on a single axis.

Fig 1.1 "Typographic System" (source), Week 1 (21/04/25)

Typographic Organization as a System:

• Typographical organization is complex because the elements are dependent on communication in order to function.
• For example, hierarchy, order of reading, legibility, and contrast also come into play in typographic organization.
• The typographic systems are akin to what architects term shape grammars.
• The typographic systems are similar in that they have a set of rules that is unique and provide a sense of purpose that focuses and directs the decision making (Elam, 2007).

 Shape Grammars in Design:

• A shape grammar is a set of shape rules that apply in a step-by-step way to generate a set, or language of designs.

Core Principle for Typographic Form:

• Make sure communication can be conveyed at the forefront of the form of typography. (This emphasizes the purpose of typography)

Lecture 02 : Typographic Composition

1. What are the key principles of typographic composition?

• Arrangement of Text: Typographic composition fundamentally involves arranging textual information within a given space.
• Design Principles: Key principles for effective typography include:
• Emphasis: Guiding the viewer's eye to important information.
• Symmetry: Creating balance (though asymmetry can also be effective for dynamic designs).
• Alignment: Creating visual connections and order.
• Perspective: Creating depth or drawing attention.
• Repetition: Creating rhythm, consistency, and emphasis.
• Balance: Arranging elements (evenly or unevenly) to create visual equilibrium.
• Complexity & Communication: Typographical organization is complex because elements are dependent on communication. Factors like hierarchy, reading order, legibility, and contrast are crucial.
• Form & Movement: Understanding the fundamentals of form and movement is essential for creating effective and engaging layouts.
• Negative and Positive Space: Utilizing these effectively can lead to unique compositions and enhance overall aesthetics.
• Managing Complexity: Balance decorative elements to maintain clarity and avoid overwhelming the viewer. Introduce elements incrementally to explore form and movement.

2. How does the rule of thirds apply to typography?

• Crucial Compositional Guideline: The rule of thirds is a fundamental compositional guideline in visual imagery.
• Placement of Interest: It helps in effectively placing points of interest within a frame.
• Foundation for Layout: It serves as a foundational understanding for layout, particularly in typography and graphic design. By imagining a 3x3 grid over your typographic space, you can strategically place key textual elements or visuals at the intersections or along the grid lines to create a more dynamic and engaging composition.

3. What distinguishes modernist from postmodernist typography?

Modernist Typography:

• Emphasis: Generally focused on order, structure, clarity, and functionality.
• Characteristics: Often characterized by grid systems, clean lines, sans-serif typefaces, and a rational approach to design.
• Goal: To create universal, legible, and efficient communication.
• Postmodernist Typography:
• Emphasis: A shift towards embracing chaos, randomness, asymmetry, and rebellion against traditional design norms.
• Generational Rebellion: This shift often reflected a generational rebellion against the strictures of modernist design.
• Impactful Visual Experiences: The aim was to create more impactful, expressive, and experimental visual experiences.
• Structured Planning within Chaos: Prominent figures (like David Carson) demonstrated that apparent randomness can stem from meticulous thought processes, highlighting complexity and depth in visual communication.
• Evolution: Typography evolved from modernist order to postmodern embrace of chaos, leading to a significant shift in aesthetic preferences.

Additional Key Concepts:

• Structural Systems: All designs are based on a structural system, with eight major variations (Axial, Radial, Dilatational, Random, Grid, Modular, Transitional, Bilateral) offering infinite permutations.
• Shape Grammars: Typographic systems are akin to shape grammars, having unique sets of rules that focus and direct decision-making. This provides a solid framework for design exploration.
• Environmental Grid System: A method to organize information using non-objective elements to create unique visual stimuli, merging various structural inspirations.
• Reductionist Approach: Stripping down elements to focus on key features for clearer information placement and enhanced communication.
• Incorporating Iconic Structures: Influences visual appeal and identity, creating unique representations.
• Exploration of Existing Grid Systems: Encourages innovative outcomes and diverse design possibilities.
• Movement in Static Designs: Mimicking a movie experience to make information more digestible and captivating.

Lecture 03 : Context & Creativity

Handwriting to Typography

Key Concept: Understanding the history of handwriting is crucial because it directly influenced the development of early mechanical letter forms and shaped modern typography. The tools and materials used throughout history (e.g., sharpened bones, charcoal) significantly impacted the unique characteristics of early letter forms.

II. Pivotal Moments in Script Evolution:

• Phoenician Alphabet (c. 15th century BCE - 300 BCE):
• Significance: Marked a major shift from pictorial representation to sound-based writing.
• Impact: Influenced subsequent alphabets, including Greek and Latin.
• Cuneiform (c. 3400 BCE - 2nd century CE):
• Method: Involved pressing a stylus into clay, a distinct communication method.
• Significance: Represents one of the earliest writing systems, distinct from others.
• Greek Alphabet (c. 8th century BCE onwards):
• Evolution: Developed from the Phoenician alphabet, incorporating vowels and establishing a unique reading style. A pivotal moment in written language history.
• Roman Alphabet (c. 7th century BCE onwards):
• Evolution: Developed from the Greek alphabet, reflecting significant historical developments and the standardization and adaptation of writing methods over centuries.
• Scribes and Tools (Throughout Antiquity and the Middle Ages):
• Key Relationship: The development of letter forms was closely linked to the tools and techniques used by scribes (e.g., quills, parchment), demonstrating the influence of material culture on written communication.
• Carolingian Minuscule Reform (Late 8th - 12th centuries CE):
• Impact: Standardized writing conventions under Charlemagne, enhancing readability and fostering literacy across Europe.
• Significance: Marked a transition from diverse regional scripts to a more unified style.
• Humanistic Writing Style (15th Century CE):
• Significance: Developed during the Italian Renaissance, establishing foundational practices for modern lowercase Roman type, crucial for efficient communication.
• Movable Type:
• Korea (14th Century CE): Demonstrated early innovation in printing technology, allowing for efficient text management, preceding European advancements.
• Europe (Mid-15th Century CE): The transition from humanistic styles to movable type (Gutenberg) revolutionized communication and the dissemination of knowledge.

III. The Influence of Historical Context and Bias:

• Overlooked African Contributions (Ancient Egypt - pre-30 BCE): Colonial biases have often prioritized Western narratives (Greece and Rome), minimizing the significant historical contributions of African civilizations.
• Distorted Perceptions (Colonial Era onwards): Colonial influences led to an elevation of Greece and Rome while understating the impact of African societies, a bias that continues to shape historical narratives.
• Misrepresentation by Western Scholars (19th-20th Centuries CE): The development of disciplines like Indology sometimes involved misrepresentation of non-Western cultures due to a lack of firsthand experience and understanding.
• Digitization Bias (20th-21st Centuries CE): While Western type foundries digitizing historical creations shows recognition of the past, it often neglects Eastern contributions and cultural heritage.
• Middle East and Asia (Ancient to Modern): The evolution of writing systems highlights significant advancements in communication and documentation, showcasing the importance of historical records.
• Phoenician Alphabet (c. 15th century BCE - 300 BCE) (Reiterated): Its historical significance in influencing later scripts and enabling broader communication is often overlooked.
• Chinese Script (c. 1200 BCE onwards): The importance placed on script development led to exceptionally well-documented history, informing our understanding of ancient civilizations.
• Indus Valley Script (c. 2600 BCE - 1900 BCE): While undeciphered, its advanced aesthetic qualities hint at a complex society.
• Cross-Cultural Exchange (Ancient Times): Significant exchange influenced the development of various Semitic scripts in the Indian subcontinent.

IV. The Evolution of Scripts in the Indian Subcontinent and Southeast Asia:

• Brahmi Script (c. 3rd century BCE onwards): Fundamental to understanding the evolution of scripts in India and beyond, influencing many regional languages in Southeast Asia.
• Pallava Script (c. 4th - 9th centuries CE): Played a crucial role in spreading writing systems in Southeast Asia, primarily used for Sanskrit and Tamil, impacting local languages.
• Cowie Script (c. 8th - 15th centuries CE): Emerged as a significant writing system in Java, derived from Indian scripts, facilitating communication between ancient kingdoms in the Malay Archipelago.
• Southeast Asia (Ancient to Modern): The historical evolution showcases a rich tapestry of cultural influences and adaptations over centuries, reflecting the diverse heritage of the region's languages and scripts.

V. The Impact of Colonization and the Importance of Preservation (16th Century CE onwards):

• Philippines (16th Century CE onwards): Colonization led to a significant reliance on English, overshadowing indigenous scripts and languages.
• Sumatra (Ancient to Modern): Ancient writing systems derived from Gujarati played a crucial role in shaping scripts throughout the Malay Archipelago, highlighting regional cultural exchanges.
• Jawi Script (c. 13th Century CE onwards): Its introduction with Islam significantly influenced literacy among local populations, demonstrating the interplay of language, religion, and education.
• Preservation Imperative (21st Century CE): Understanding and preserving historical scripts is vital for maintaining cultural heritage.
• Responsibility of Young Designers (Present Day): Digitizing these languages is crucial to prevent their extinction and ensure their relevance in modern communication, thus preserving cultural identity.
• Codifying Languages (Ongoing): Prevents the loss of diverse scripts, ensuring their survival in modern communication.

VI. The Role of Technology and Innovation in Preservation (21st Century CE):

• Technology in Asia: Enabling the digitization of indigenous scripts, allowing them to thrive on modern platforms and revitalize local languages.
• Multi-Script Typefaces: A growing trend blending vernacular and Latin scripts to cater to bilingual communication needs.
• Importance of Vernacular Languages in Digital Formats: Highlighted by local organizations and individuals in Malaysia and India, aiming to preserve cultural heritage and promote originality in design.
• Specific Examples (21st Century CE):
• Moo Rossum dot com: Enhancing typing of vernacular languages on digital platforms.
• Boo and Who Roofs (Malaysia): Blending traditional hand-painted lettering with modern digital fonts.
• Type and Indian Type Foundry (India): Creating multi-script typefaces, promoting native scripts and local design awareness.

Lecture 04: Designing Type

I. The "Why" of Type Design

• Type design carries a social responsibility, so one must continue to improve its legibility 
• Despite thousands of existing typefaces, there's still a need to design new ones.
• Designers have a moral obligation to improve legibility where a need exists or a problem needs solving. This is similar to a designer's general social responsibility.

• Artistic Expression: Type design is an art form. Like all artists, type designers are driven by an innate need to express themselves.
• Purpose & Limitations: Exploring these helps understand the rationale behind specific typeface designs.

II. Influential Type Designers & Their Work
Adrian Frutiger (20th Century Swiss Graphic Designer):

• Renowned for advancing typography into the digital realm.
• Key Typefaces: Univers, Frutiger, Avenir.

Fig 1.2 "Univers" (source), Week 4 (18/05/25)

• Purpose: Commissioned for Charles de Gaulle International Airport (originally Roissy) to create a clean, distinctive, legible typeface visible from both close up and far away – extremely functional.
• Considerations/Limitations: Letterforms needed to be recognized in poor lighting or when readers moved quickly. Frutiger even tested with unfocused/blurred letters to assess legibility.
• Challenge: Quantifying legibility scientifically in art/design is difficult, as empirical evidence is often hard to obtain.
• Global Impact: Adapted for Arabic, used in signage (e.g., airports), and by companies like Celcom (now TM Net) and IKEA (a controversial change from Futura).

• Devanagari Font for India (1964):
• Purpose: Commissioned by the Indian Design Institute (National Institute of Design) to simplify sacred Devanagari characters for modern typesetting, without compromising their calligraphic expression.
• Significance: Frutiger, a Western designer, successfully designed for a script he couldn't read, showcasing his caliber and India's foresight in industrialization and embracing modern typesetting.

Matthew Carter (Contemporary British Type Designer & Craftsman):

• Son of Harry Carter (Royal Designer for Industry) – grew up with deep design knowledge.
• Trained as a punch-cutter; experienced in old typeset, phototypesetting, and digital typesetting.
• Many fonts address specific technical challenges, especially those posed by early computers.
• Verdana (1996, for Microsoft):

• Purpose: Designed for extreme legibility at small sizes on screen (internet/electronic devices).
• Considerations: Characterized by pixel-derived forms, not pen/brush. Addressed commonly confused characters like lowercase 'i', 'j', and 'l'.

• IKEA Controversy: Its adoption by IKEA, replacing Futura, sparked debate among designers due to Verdana's screen-optimized nature.

• Bell Centennial (Improvement of Bell Gothic for AT&T):
• Purpose: Designed for legibility in telephone directories, which were printed quickly on rough newsprint paper.
• Innovation: Featured ink traps – small indentations at stroke junctions that would fill with excess ink during fast, rough printing, preventing blurriness and maintaining sharp edges.

Edward Johnston (Creator of London Underground Typeface, 1916):

• Purpose: Commissioned by London Underground to create a typeface with bold simplicity, modern yet traditional, to standardize and unite the identity across its various entities and signage (reducing "cacophony of letters").
• Inspiration: Combined classical Roman proportions (specifically from the Trajan Column) with humanist warmth.
• Approach: Maintained the open nature of Roman capitals but adapted them for modern industrial use by removing serifs and increasing stroke weight.
• Connection to Gill Sans: His former student, Eric Gill, designed Gill Sans, which was heavily based on Johnston's work. Gill later admitted this influence, despite Gill Sans gaining immense fame through Monotype's marketing.

III. The Type Design Process
Type design is a systematic process that involves:

RESEARCH

• Understand type history (context, perspective).
• Understand type anatomy (parts of a letter).
• Understand type conventions (unwritten rules).
• Learn terminologies (side bearing, metrics, hinting – a huge lexicon).
• Determine purpose: What will the typeface be used for (e.g., school bus vs. Apple signage)?
• Examine existing fonts: For inspiration, ideas, reference, context, and usage patterns.

SKETCHING

• Can be done traditionally (brush, pen, ink, paper, then scanned) or digitally (Wacom, directly into software).
• Both methods have pros and cons (e.g., hand sketching allows more deliberation but is slower; digital is faster/consistent but can impede natural strokes).

DIGITIZATION

• Using professional software like FontLab or Glyphs app. (Adobe Illustrator is frowned upon by purists).
• Crucial Focus: Pay attention to both the whole form of the letter and the counter form (the negative space inside and around the letters), as the counter form heavily influences readability.

TESTING

• An essential component of the design thinking process.
• Results refine and correct aspects of the typeface.
• Prototyping is part of testing and provides important feedback.
• Rigor is Key: More rigorous testing leads to fewer problems post-deployment.
• Considerations: Readability and legibility are paramount, especially for text typefaces. For display typefaces, expression and form take precedence, though readability is still necessary.

DEPLOYMENT & REVISION

• Even after deployment, teething problems may emerge that weren't caught during testing.
• Revision is an ongoing task; rigorous testing helps keep these issues minor.
• Gathering feedback from stakeholders and users is vital.

IV. Typeface Construction Considerations

• Roman Capitals: Often constructed based on a grid system using squares and circles, with a central rectangle (three-quarters the size of the square). This provides a foundational method for letterform construction.

• Grouping Characters: The 26 characters of the alphabet can be grouped by their construction (e.g., round, rectangular, diagonal). This helps identify similar elements that can be applied across different letterforms, speeding up the design process.

• Continuous Learning: Designing a typeface involves numerous considerations. Designers mature by continuously seeking knowledge and understanding these intricacies to create more sophisticated typefaces.

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II. INSTRUCTION

MIB April 2025

In Task 1, these two exercises will aid and benefit the growth of my work and understanding of theoretical and practical knowledge in Advanced Typography. 

EXERCISE 1 - TYPOGRAPHIC SYSTEMS

Timeframe: Week 01 - Week 02

Typographic Systems exercise instills the learning process to gain knowledge and understanding of visual organization systems. In reference to Lecture 01, the eight systems of typographic organization enable a more fluid visual language, creating engaging messages that invite readers into the text.

The 8 systems mentioned above are to be explored using the following content: 

The Design School, 

Taylor’s University 

All Ripped Up: Punk Influences on Design  

or  

The ABCs of Bauhaus Design Theory  

or  

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 

Page | 6  

Lecture Theatre 12

I chose All Ripped up: Punk Influences on Design for the heading and the color green for its contrast, emphasis, and thematic appropriateness shown in 8 following typographic systems below:

Fig 2.1   "Typographic Systems First Draft: Axial, Radial, Modular, Bilateral, Grid, Transitional, Dilational & Random" (Week 2)

As is evident, my initial attempt was quite unrefined and notably deficient, particularly in grasping the organizational systems. The Grid and Bilateral systems, for instance, appeared almost indistinguishable, while my Radial execution unfortunately veered into a 45-degree angle, a point Mr. Vinod rightly corrected. Furthermore, Dilational lacked structure, and Transitional failed to convey its intended substance. In the end, all eight needed big changes. 

These are the final changes made to the first draft in a slight change of order.

Fig 2.2  "Typographic Systems Final: Bilateral, Radial, Modular, Axial, Grid, Transitional, Dilational & Random" (Week 2)

Out of the ten fonts, the systems generally featured one, two, or three fonts, limited to Futura STD, Adobe Caslon, or Univers LT where the font size ranged from 12pts to 60pts on average (not applicable for Random System).

Fig 2.2.1 "Random Final" (06/05/25)

The overall aesthetic, characterized by fragmented text, overlapping elements, varied alignments, and a seemingly chaotic yet energetic arrangement, strongly reflects the random system.

Fig 2.2.2 "Dilational Final" (06/05/25)

 The title "All Ripped Up: Punk Influences on Design" appears to be a starting point, and the surrounding text elements seem to expand outwards to continue the circular flow to other circles int he page though with some distortion and overlap.  There's a sense of elements moving outward from that central phrase, but not in a perfectly controlled manner.

Fig 2.2.3 "Grid Final" (06/05/25)

This page demonstrates a Grid System. The page is structured using a grid, although it's a simple one. The title, subtitle, dates, times, and location are all aligned to the implied grid lines.

Fig 2.2.4 "Transtional Final" (06/05/25)

Using green rough elements in the background helps show a clear hierarchy in the text, moving from the large, bold title "All Ripped Up" to the smaller details of the date, time, and speakers. The layout guides the eye through the information.

Fig 2.2.5  "Bilateral Final" (06/05/25)

It primarily uses a bilateral system, but subverts perfect symmetry with asymmetry and fragmentation. Elements are balanced by visual weight around a central axis, achieving a "ripped up" punk aesthetic.

Fig 2.2.6  "Radial Final" (06/05/25)

This page has elements of a radial system. The title "ALL RIPPED UP: PUNK INFLUENCES ON DESIGN" is placed inside the circle. The circle's border acts as a central point, with supporting information (date, time, location, and speakers) arranged around it, suggesting an outward flow from the center in a scenario where the title is the inner circle and the surrounding details as expanding outer circles.

Fig 2.2.7 "Modular Final" (06/05/25)

This page uses a Modular System. The information is organized into distinct rectangular modules. For example, the date and time for each day are grouped, and the title and subtitle form another module.

Fig 2.2.8 "Axial Final" (06/05/25)

The title "All Ripped Up: Punk Influences on Design" establishes a central line or axis. The other text elements are aligned to this axis, creating a strong sense of direction and order.

FINAL SUBMISSION :

8 typographic systems JPG

8 typographic systems without guides

8 typographic systems with guides

EXERCISE 2 - TYPE & PLAY

In this exercise, as the name suggests, from a simple source image (man-made or natural), students will analyze and refine potential letterforms through digitization and iteration. After developing the letterforms, students will combine them with the original image. The aim is to enhance the connection between the letterforms and the chosen visual, so that the text and image work together symbiotically. In my case, I chose rigid gears attached to one another.

Fig 3.1 "Original Picture & Tracing" (source) (06/05/25)

I identified several letters, 'W, H, T, V, L, I, E,' which include two vowels and the rest consonants. I intended to make a word from the extraction, which came out looking like this :  

Fig 3.2 "Extraction in Tracing Only" (06/05/25)

This was the progress of the word formation into something more legible and with more typographic sense : 

Fig 3.3 "Progress" (06/05/25)

Through several variations and a reference font, this was the result before the feedback:

Fig 3.4 "Compiled W3"  (06/05/25)

It originally looked very organic, round and wiggly in a way it does not seem to be traced from a mechanical shape. Looking back on the matter, I decided to find a new reference font which help me produced results shown below.

Fig 3.5 "New Letterform" (13/05/25)

The revised version encapsulates the simplicity of gears with only geometric shapes. After altering, this is the moldboard given to check on the movie poster.

Fig 3.6 "Final Feedback Compilation & Movie Poster" (13/05/25)

To address concerns about the movie poster, the color of 'WHILE' was adjusted to avoid controversy. The IMAX logo was also changed to white, and the movie's credentials were corrected.

Fig 3.7 "Improved Movie Poster" (13/05/25)

As the movie poster design changed, the white font on a purple background appeared to need more elements. However, I felt the main problem was brightness, which I corrected with a Photoshop vignette applied for 'WHILE' as well as the movie poster itself.

Fig 3.8 "Gradient/Vigentte Letterform" (13/05/25)

This is the final look for exercise 2 in regards to the movie poster.

Fig 3.9 "Final Movie Poster" (13/05/25)

FINAL SUBMISSION :

Type & Play Compiled Progress

Letterform Poster JPEG

Letterform Poster PDF

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III. FEEDBACK

Week 1

General feedback: Mr. Vinod instructed and explained task 1, which includes the typographic system lecture notes and 8 design drafts for the next class.

Specific feedback: none

Week 2

General feedback: Finalize 8 drafts through feedback given in class, and get briefed on the second part of task 1

Specific feedback: From the start, I made several mistakes in the design of typographic systems, which prevented me from submitting the work to the Facebook group. Listening to the feedback helped me analyze the layouts and systems, angles in axial, leading, and space between content and graphical elements better. I need to work on most of my systems, except the grid and modular.

Week 3

General feedback: Finish Task 1 poster before the next class & refine the details after feedback in font

Specific feedback: Mr Vinod corrected the main element of my font, which is the wrong reference font I've used, as the picture I picked is mechanical and should have provided mechanical font results ( no organic-looking ones ). I  was told to focus on the singular element ( shape ) and develop it.

Week 4

General feedback: Finalize movie poster after feedback, complete ePortfolio before deadline & the start of task 2

Specific feedback: Mr. Vinod said the movie poster's title was problematic because of the dark background colour, as well as the credit texts need to have a reduced font size.

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IV. REFLECTION

Experience:

 I've learned a lot about how to use simple elements and color effectively to make things look good and get messages across. It's about combining my creativity with a bit of structure to ensure that what I create is clear and easy to understand. My focus has been on making sure that every design choice, from the placement of a simple line to the shade of a color, helps people grasp the intended message without confusion.

Observations:

I've keenly observed the power of specific visuals to convey meaning, much like how gears immediately suggest something mechanical or intricate. This experience taught me that even without words, certain elements carry strong associations. It's crucial to consider how every chosen visual, whether it's a specific shape or a particular arrangement, inherently communicates an idea or feeling. This deep connection means that every design choice has a direct impact on the message, shaping how the viewer interprets it.

Findings:

 I've realized that the ability to do good research and then trust your instinct will naturally develop over time as you gain more accurate knowledge. This really highlights the value of continuous learning. Reading more materials and paying close attention to what Mr. Vinod discusses will be very beneficial. By consistently engaging with these resources, I do hope my understanding will deepen, and I'll find that my intuitive sense for effective design becomes much stronger and more reliable.

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V. FURTHER READING

Fig 4.1 "Kreatifbeats, Finding Type" (19/05/25) (SOURCE)

This article delves into a typographic exercise, "Finding Type," developed for the Advanced Typography module at The Design School, Taylor's University. The exercise is structured to enhance students' abilities in designing custom letterforms, specifically for projects like movies or games.

Key Study Points:

• The exercise emphasizes a process that involves deconstructing a source image.
• A core goal is to retain the essence of the original subject in the final letterform design.
• The exercise aims to shift students from relying on existing typefaces to creating original designs.
• It underscores the importance of visual analysis, interpretation, and iterative design in typography education.

Fig 4.2 "Seven Essential Typographic Layout Systems by Type365" (19/05/25) (SOURCE)

• Central Focus: Radial designs are built around a central focal point, with all content spreading outwards from it.
• Visual Appeal: They are visually interesting and dynamic, making them suitable for posters and interactive websites.
• Readability Challenge: Text can be hard to read in radial layouts, so avoid them for books or long passages.
• Design Process:
• Start by defining your content, medium, and text hierarchy. 
• Choose a focal point (or a few) for your composition. 
• Experiment with adjusting the inner and outer edges of text to create different shapes (e.g., random, spiraled, circular). 
• Key Techniques:
• Grouping text pieces helps create hierarchy and organization. 
• Non-objective elements (like graphics or simple shapes) can emphasize the focal point or balance the design.

Fig 4.3 "Typographic Systems by Kimberly Elam" (19/05/25)

Curvilinear design, a layout approach that uses tangent circles to create curving lines for text arrangement. It's presented as an inventive way to interpret a dilatational system.

In a curvilinear composition, the eye often follows the text along these curves, starting in one area and sweeping around as if moving through implied circles. The example given mentions text being split into groups, each arranged on circles, then unified into a single curvilinear arc.

A key point is that while this style can be visually interesting, using multiple curves can be difficult to manage and requires significant space, often leading to very small type and overly complex compositions. 

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VI. QUICK LINKS