Advanced Typography: Task 1 Exercises

04/22/2025

ZHANG TIANYAO(0376838)

Bachelor of Design (Honours) in Creative Media

Task1

List

1. Lectures
2. Instructions

3. Feedback

4. Reflections

5. Further Reading

Lectures

Week 1：

Fig 1.1

This image uses a side-by-side layout comparison to visually demonstrate the significant difference in clarity and reading experience between good design and bad design.

Fig 1.2

This is a clean, segmented layout design that emphasizes hierarchy and spacing, using bold headings, bulleted lists, and dividers to ensure clear information presentation.

Fig1.3

The layout utilizes freely arranged red lines alongside a prominent red dot to establish strong visual contrast and dynamic movement. The extensive use of white space contributes to a sense of lightness and spatial clarity, while simultaneously reinforcing the visual hierarchy and rhythmic flow within the composition.

Fig 1.4

The layout creates a visually engaging composition that balances chaos and order through dynamic broken grid structure, strong contrast, and generous white space.

Fig 1.5

By using curved text arrangements, bold contrasts, and open white space, this layout creates a smooth visual rhythm and makes the information easy to navigate.

Task 1

Title:The ABCs of Bauhaus Design Theory

Open Public Lectures:

November 24, 2020

Lew Pik Svonn, 9AM-10AM

Ezrena Mohd., 10AM-11AM

Suzy Sulaiman, 11AM-12PM

November 25, 2020

Muthu Neduraman, 9AM-10AM

Fahmi Reza, 10AM-11AM

Fahmi Fadzil, 11AM-12PM

Lecture Theatre 12

Here are eight different styles of posters.

Fig 2.1 Axial

Fig 2.2 Dilatational

Fig 2.3 Random

               

Fig 2.4 Radial

Fig 2.5 Bilateral

Fig 2.6 Modular

Fig 2.7 Transitional

Fig 2.8 Grid

Fig 4.7 Compilation of eight typographic system layouts (with guides) based on The ABCs of Bauhaus Design Theory.

Fig 4.8 Compilation of eight typographic system layouts (without guides) based on The ABCs of Bauhaus Design Theory.

Requirements

Use InDesign

Document size:200✖200mm

Color : Black + 1 color

Export as JPEG @300ppi (1024px); PDF with guides

Type & Play Part 1

Task Brief

The task requires finding a picture, then identifying 4 to 5 letters from it, and choosing a font. The identified letters should gradually be modified to approach the style of the selected font.

Letterform Extraction

For this task, I selected an image of noodles, captivated by their flowing forms and intricate twists. The way the strands intertwined created a dynamic visual rhythm that intrigued me. By carefully tracing sections of the noodles, I extracted potential letterforms and began transforming them into a type design. This process allowed me to explore how the organic shapes of the noodles could inspire playful yet structured typographic elements, merging the culinary with the creative.

Fig 3.1 Chosen Image

Fig 3.2 Extracted Letterforms - C, T, F, Y, V

Fig 3.3 Extracted Letterforms - C, T, F, Y, V

Fig 3.4 The process of text evolution

Fig 3.5 progress overview

Fig 3.6 Reference font – Univers LT Std 73 Black Extended

Fig 3.7 Attempt 1

Fig 3.8 Attempt 2

Fig 3.9 Attempt 3

Fig 3.10 Letterform Outline Exploration 

Final Outcome of Part 1

Fig 3.11 Overall Process

Type & Play Part 2

In Part 2 of this exercise, Mr. Vinod instructed us to design a movie poster by incorporating the typeface we created earlier. The goal was to establish a strong visual relationship between the image and the letterforms.

Fig 3.12 Presentation of process 

For the final stage of the project, I created a conceptual movie poster centered around the theme of “a bowl of noodles.” The poster features the custom letterforms “CTFYV”, which I developed based on the organic, twisted qualities of noodles. The type design mimics the soft, flowing structure of noodles through stretched, curled, and entangled strokes, offering a playful and tactile visual identity.

The poster places a bowl of noodles at the center of the composition, visually tying the custom typography to the imagery. The integration of type and image creates a cohesive graphic language, emphasizing how everyday objects like food can be used to communicate emotion and meaning through design.

This work was not only an exercise in type creation but also an exploration of how typography and imagery interact to convey texture, mood, and narrative in visual communication.

Fig 3.13 Final poster

Fig 3.14 Final poster - CTFYV

Final Type & Play Part 1

Fig 4.1 Extracted Letterforms - C, T, F, Y, V

Fig 4.2 Overall Process

Fig 4.3 Overall Process(PDF)

Fig 4.4 Final Poster (PNG)

Fig 4.5 Final poster - CTFYV

Feedback

Week 1

Specific feedback:

(To be updated based on lecturer's comments)

e.g. — Need to explore more layout variations in axial/radial system.

e.g. — Ensure consistent use of typeface size and hierarchy.

General feedback:

 This week, Mr. Vinod explained to us the eight basic forms in advanced typesetting and asked us to create related works. The eight formats are Axial Radial Dilatational Bilateral Random Transitional Modular Grid. And explained their meanings to us in detail and gave us excellent homework for us to study

Week 2

Specific feedback:

This week, Mr. Vinod provided feedback on the Typographic Systems exercises we shared on Facebook, focusing on aspects such as alignment, axis structure, and overall layout. He noted that my Transitional system required a redesign, which highlighted for me the significance of organizing elements and ensuring a smooth visual flow. Additionally, he introduced the new Type & Play project, where he explained the process of extracting letterforms from images and refining them through iterations, all while preserving a link to the original form.

General feedback:

This week, Mr. Vinod viewed the typography assignments we posted on Facebook. He said he felt my work wasn’t mature or finished and told me to rework it. At first, I felt a bit frustrated but I saw his reasoning, and there’s still a lot I need to improve in my design.” I realised that what he said made me the realisation that it's important to think more consciously about the big picture and to the details in typography.

Week 3

Specific feedback:

Mr. Vinod mentioned that my font sizes were not consistent, so I went back to measure the length and size of each letter, rather than relying on a blind sense of scale.

General feedback:

This week, we attempted to find inspiration for letters in the forms of natural objects and made posters of them. After reviewing my learnings, Mr.Vinod suggested me some changes, making me understand the font design way lot better. And I began to realize that creating letters isn’t all about making them look nice it’s about structure too, about how they function visually. I found it really useful to hear from him.”

Reflections

Experience

During this project, I explored how visual inspiration in food or specifically ‘No-oddles’ could lead to type. Through dissecting the fluid forms and intricate patterns found in noodles, I developed the letterforms, which I then implemented on a movie poster. This experience was part of a full cycle design were we started to observe, take notes, sketch, digitize, deliver and then apply. The project had its challenges, for example concern over visual consistency and legibility, but it was a great opportunity to test out the textures and typography side by side.

Observation

The most important thing I learnt from this project is to really pay attention to these forms and rhythms that would reveal the aesthetics of the natural world in common objects such as noodles, and that we need to slow down and look. Instead of jumping straight to stylization, I tried to think about what the essential elements of my inspiration image (twisting strands, smooth curves) might look like as letterforms in C, T, F, Y, and V." Mr. Vinod's feedback reminded me that good design isn't just about making things pretty, but about setting up a visual logic that unfolds and keeps the reader's interest.

Findings

I learned in this exercise that removing letterforms from their typeface isn’t as simple as reproducing shapes — you need to understand how shape imparts meaning. My final poster, consisting of the letters C, T, F, Y, and V, demonstrates how typography and imagery can work together to evoke a unified narrative tone. The font is fun and dynamic, just like the noodles, and it supports the theme of the project, inspired by the idea that “when creativity flows like noodles, inspiration follows.” In this work I developed my observation of structure, form and visual narrative.

Further Reading

Typographic Systems by Kimberly Elam

While reading "Type Systems," I discovered the richness and beauty of typographic design. In its organized approach, Kimberly Elam categorizes typography, and I realized how these systems work together to convey information.

Through the visual presentation of various typographic methods, I could feel the emotions and atmosphere, particularly the contrast between symmetry and asymmetry left a deep impression on me.

By studying the practices of these typographic systems, I found that they are not merely formal choices, but they truly impact readability and the audience's experience. I believe this book has not only enhanced my skills as a designer but also deepened my knowledge and appreciation of the art of typography.