Name: Liong Xenyi (0383125)
Module: Advanced Typography (GCD61004)
Date: 23/9/2025 - 14/10/2025 (Week 1 - Week 4)
Degree: Bachelor of Design (Honors) in Creative Media
University: Taylor's University
Module: Advanced Typography (GCD61004)
Date: 23/9/2025 - 14/10/2025 (Week 1 - Week 4)
Degree: Bachelor of Design (Honors) in Creative Media
University: Taylor's University
Task 1: Exercises
Table of Contents
Lecture
Lecture 1: Typographic Systems
According to Kimberley Elam (2007), "All design is based on a structural system," where there are 8 major variations:
- Axial: all elements are organised to the left or right of a single axis
- Radial: all elements are extended from a point of focus
- Dilatational: all elements expand from a central point in a circular fashion
- Random: elements appear to have no specific pattern or relationship
- Grid: a system of vertical and horizontal divisions
- Modular: a series of non-objective elements that are constructed in as a standardised units
- Transitional: an informal system of layered banding
- Bilateral: all text is arranged symmetrically on a single axis
Fig 1.1 Typographic Systems Explanation (29/9/2025, Week 1)
Fig 1.2 Typographic Systems Student's Samples (29/9/2025, Week 1)
Principles of Design Composition
It is used well for composing a piece of artwork or design (any imagery), however, some principles are hard to transfer to typographic layouts or compositions. For example, referencing Fig 1.3, the principle, emphasis, can be used to emphasise a phrase or heading, which can be a good layout. Similar to symmetry being used constantly. However, the repetition or perspective principle would be hard to translate to typographical terms, but could be still usable.
Fig 1.3 Emphasis principle example on typographic layout (3/10/2025, Week 2)
The Rule of Thirds
It is a photographic guide to composition, following a 3x3 frame. The intersecting lines are guides to point of interest (focal point). More commonly, no one would use rule of thirds when there are more favourable options for typographical compositions.
Fig 1.4 Rule of Thirds typographic layout (3/10/2025, Week 2)
Typographic Systems
The most pragmatic and used system is the Grid System (or Raster Systeme), which was derived from the grided compositional structure of Letter Press printing. It was further enhanced to be now termed as Swiss (Modernist) style of Typography. Even if it seems old or rigid, the versatility of the system allow an infinite number of adaptations, remaining popular.
Fig 1.4 Grid System (3/10/2025, Week 2)
In reaction to this, a group of younger designers begun to question and challenge this notion of order, beginning the post-modernist era of Typographical systems being explored with chaos, randomness and asymmetry. Best examples however, were the combine the chaos with legibility and readability. Within the chaos, there was a method and intuition behind it, with great planning and designing. Thus began the asymmetry, random, repetition, dilatational and radial systems.
Fig 1.5 Design examples from left to right: Paula Scher, Jonathan Barnbrook and David Carson (3/10/2025, Week 2)
Other Models/Systems
Environmental GridBased on the exploration of an existing structure or numerous structures combined, where there is an extraction of crucial lines (key features) both curved and straight are formed. The designer organises this information around the super-structure. which includes non-objective elements to create a unique and exciting mixture of texture and visual stimuli based on context.
Fig 1.6 An example from lecturer Brenda McMannus, of Pratt Inst. from the book: Typographic Form and Communication, pp211 (3/10/2025, Week 2)
Based on the exploration of an existing Grid System. Mr. Vinod developed this system to allow students to explore on the multitude of options the grid can offer, dispelling the seriousness surrounding the application of the grid system. This shows the turning pages in a book as a slowed-down animation in the form that constitutes the placement of image, text and colour. The placement of form on a page, over many pages (paper or screen) create movement.
Fig 1.7 Form and Movement example; Right: animated version, spreads of a book mimic the frame by frame nature of a moving screen (3/10/2025, Week 2)
Static versions of form placed on spread (Grids were hidden). Care was taken to ensure visual connections and surprises on every page. The forms could represent images, text or colour.
Fig 1.8 Another example of static version of form with grids visible (3/10/2025, Week 2)
Fig 1.9 The addition of elements such as colour, images and text were added to the static images (3/10/2025, Week 2)
In these compositional exercises, the level of complexity increases as newer elements are introduced in a incremental fashion: addition of colour, then image, then dummy text and so on.
Lecture 3: Context and Creativity
The context is a recap with additional information from the previous typography module. The study of handwriting is important because the first mechanically produced letterforms were designed to imitate handwriting, which then become the basis. The shape and line of drawn letterforms were influenced by tools and materials used.
Fig 1.10 Latin Alphabets (8/10/2025, Week 3)
Cuneiform (3000 B.C.E), the earliest writing system, was used in a number of languages between 34C. B.C.E through the 1st Century C.E. It is the result of pressing a blunt end of a reed stylus into wet clay tablets.
Fig 1.11 Cuneiform (8/10/2025, Week 3)
Hieroglyphics (2613-2160 B.C.E) were the Egyptians' writing system, which is a mixture of both rebus and phonetic characters (first link to a future alphabetic system), and could be used in three different ways:
- Ideograms (represent things they actually depict)
- Determinatives (signs preceding are meant as phonograms and to indicate the general idea of a word)
- Phonograms (represent sounds that 'spell out' individual words)
Fig 1.12 Hieroglyphics (8/10/2025, Week 3)
These are additional information based on the previous context lecture:
- Early Greek (5th C. B.C.E.): built on Egyptian logo-consonantal system, the Phoenicians developed a phonetic alphabet consisting of 22 letters.
- Greek was often read in boustrophedon (or as the ox plows), where on row would read from left to right and then switch vice versa.
- Drawn freehand, not constructed with a compass or ruler, and no serifs. Over time, the strokes grew thicker, the aperture lessened and serifs appeared.
- Served as models for formal lettering in Imperial Rome.
- Roman inscriptional letters: written with a flat brush, held at an angle, then carved into the stone with mallet and chisel. Served as models for calligraphers for the past two thousand years.
- Roman Uncials (4th Century): more rounded, allowing less strokes and faster writing.
- English Half Uncials (8th Century): evolved into a more slanted and condensed form.
- Carolingian Minuscule (8th C. B.C.E): during Charlemagne's patronage, court school was established under Alcuin of York, where book production increased and language was standardised (pronunciation, spelling and writing conventions), which resulted in a new script emerging.
- Used for legal and literary works to unify communication between the various regions of European empire.
- This style developed and became the pattern for Humanistic writing in the 15th C., serving as the basis of the lower-case roman type.
- Movable Type (11 C. - 14 C.): printing (wood block) had been practiced in China, Japan and Korea (Dharani Sutra, AD 750). Earliest known printed book (AD 868) is the Diamond Sutra.
- China had attempted movable type for printing but was unsuccessful.
- Late 14 C., several decades before the earliest printing in Europe, Koreans establish a foundry to cast movable type in bronze (the dismantling and resetting of text) and succeeded.
Fig 1.13 Movable Type (8/10/2025, Week 3)
Why do we only talk about Greek influence on Rome. but not Egyptians or Near Eastern influence on Greece?
- In the 19th Century and the rise of the modern British Empire, it became out of style to credit Africa with anything of value, even if it's much more influential.
- An example is the European academic process worked to create the discipline of "Indology". The central figure, Max Muller, never visited India and viewed historical evidence through colonial lenses.
- Same is true for Classicism, Egyptology, Africanism, Indology and Orientalism.
Brief Eastern Development of Handwriting
Evolution of Middle Eastern Alphabets: even though Phoenician letter is the turning point in written language, the script itself was possibly influenced by the Egyptian Hieroglyphics and Hieratic Scripts.
Fig 1.14 Middle Eastern Alphabets (8/10/2025, Week 3)
Evolution of Chinese Scripts: from the Oracle bone to Seal Script to Clerical Script, Traditional and Simplified scripts.
Fig 1.15 Chinese Scripts (8/10/2025, Week 3)
Indus Valley Civilization (IVC) Script (3500-2000 B.C.E.): Oldest writing found in the 'Indian' subcontinent is undeciphered and seems to be somewhat logo-syllabic in nature.
Fig 1.16 IVC Script (8/10/2025, Week 3)
Brahmi Script (450-350 B.C.E.): earliest writing system developed in India after the Indus script. One of the most influential writing systems, influencing all modern Indian scripts and several hundred scripts found in Southeast and East Asia.
Fig 1.17 Brahmi Script (8/10/2025, Week 3)
The oldest writing systems present in Southeast Asia were Indian scripts. The most important is Pallava (Pallawa in Malay), a South Indian script originally used for writing Sanskrit and Tamil., became the basis for writing systems across Southeast Asia. Pra-nagari (early form of Nagari script) was used in India for writing Sanskrit and in Malay Archipelago.
Fig 1.18 Pallava (left) and Pra-nagari (right) Script (8/10/2025, Week 3)
Kawi Script: Indonesia's most important historical script, based on Nagari but indigenous to Java. The word comes from Sanskrit term 'kavya' meaning poet. It was used to contact other kingdoms, and because it is widespread, it became the basis of other scripts in Indonesia and Philippines.
Fig 1.19 Kawi Script (8/10/2025, Week 3)
Jawi Script: Arabic-based Alphabet, introduced along with Islam. Ancient Hindu societies were classist and caste-based, where lower classes were illiterate. Islam encouraged teaching for the sake of proselytization, teaching Jawi to those who cannot read or write. This spread among upper and middle-class in trading ports.
Fig 1.20 Jawi Script (8/10/2025, Week 3)
In modern Malaysia, Jawi is important because it's used for all the famous works of literature (hikayat and Malay charm book). All writing systems have some form of influence, and to claim complete originality is inaccurate and ignorant. History gives context and opportunity for design, and to better understand our collective heritage.
Fig 1.21 Traditional Javanese from Demak (8/10/2025, Week 3)
In the creative side, more vernacular scripts are being produced by software giants such as Google. In Malaysia, programmer and typographer Muthu Nedumaran, made murasu.com - a programming language to encode the different type of vernacular writing systems, which could now be used in mobile phones and desktops.
Creativity and originality often come together, stemming from designers looking inward to examine their histories, civilisation, culture and communities to bring past developments into the future and develop on them. Inspiration should begin by observing our surroundings and histories.
Module Information Booklet
Exercises:
1) Typographic Systems
2) Type and Play
- Instructions
- Process
- Submission
Exercise 1 - Typographic Systems
Instructions
- These 8 systems are to be explored: Axial, Radial, Dilatational, Random, Grid, Modular, Transitional and Bilateral
- To be done using Adobe InDesign only
- Size: 200 x 200 mm
- In addition to black, only one other colour can be chosen
- Graphical elements can be used but limitedly
Process
I tried my best to understand how each system work and tried my first idea for each. I played around with the elements and with a chosen colour to see what could come out of each designs' layout. Each designs' process is put together so it is clearer on how I choose my final submission.
I choose the topic "Russian Constructivism and Graphic Design" to use for this design exercise. I read the article provided to understand what art style it is and how I could incorporate that into my designs. It is a design based on challenging society in Russia, serving a social purpose rather than just art. It uses bold colours and definitive shapes that is eye-catching and dramatically shocking, conveying motion and dynamism using unconventional viewing angles and radical foreshortening.
After viewing a few posters using the Russian Constructivism style as inspiration, I tried doing my own with this exercise. This is the text:
Russian Constructivism and Graphic Design
The Design School,Taylor’s University
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
Axial System
Understanding that this system is based on the text aligning next to only one line, either left or right, I wanted to make it seem more dynamic and exciting, compared to a normal axial system layout. I decided to use use my chosen colour as a background alongside black, creating the two sides, with an axis separating the two. I alternated the text using white, while using a colour contrast for the main title.
Fig 2.1 Axial system first attempt (29/9/2025, Week 1)
After feedback, the text has to be next to the line, and my title is exceeding that line. I made changes so that the text is next to the line.
Fig 2.2 Axial system second attempt (1/10/2025, Week 2)
Typefaces used:
Serifa Std (75 Black, 65 Bold, 56 Italic, 55 Roman, 45 Light)
Radial System
For this, I made it rather simple, using 3 circles as the point where the information is pointing towards. The hierarchy of text determines the circle from big to small, separating the title, the locations and the lectures.
Fig 2.3 Radial system first attempt (29/9/2025, Week 1)
Fig 2.4 Radial system second attempt (1/10/2025, Week 2)
Typefaces used:
Futura Std (Extra bold, Heavy, Medium, Light, Book)
Dilatational System
I wanted to use the colour as a background and make the design bold like a Russian Constructivist art-style, using white to create a contrast, as black is too dark. The order of information starts from the outer circle, going in towards the middle. The lectures have a descending order of being placed more to the right, as I didn't want it to look exactly symmetrical. I bolded the timings with a colour to highlight the importance.
Fig 2.5 Dilatational system first attempt (29/9/2025, Week 1)
I tried another attempt to see a different design. I left it as a white background, and arranged the text into different dilatational rings. I had some words repeat as a form of emphasis and also to fill in the white space, but the whole thing is lackluster, and doesn't have the look I wanted it to give.
I prefer the previous one as it aligns more with the context of the text.
Bodoni Std (Poster, Bold italic, Book, Bold compressed, Poster compressed)
I kind of love-hate this system, as I, myself, am a random person, but also like organisation when it comes to design as it is easier to see and read. I tried to be as random as possible, while also maintaining some sort of readability and interest. As expected, this took me the longest to try, as I had to place each element one by one, even with some letters. I tried using the three colours I had (black, white, my chosen colour) to the best of my ability. I included some principles of design such as principle of closure, movement, repetition and contrast.
Fig 2.7 Random system first attempt (29/9/2025, Week 1)
Typefaces used:
All from the 10 fonts given (random)
Grid System
This is a system where it's easiest to do, as I've been using it most of my life. I did a simple one, while using symmetry to make it look organised, and placed it to look appealing and not boring. I made 3 columns and 3 rows, and added small elements inside to create imaginary boxes for a more organised look. I added a thin rectangular box at the bottom to balance the text at the top. Looking back, this could also pass off as a modular system.
Fig 2.8 Grid system first attempt (29/9/2025, Week 1)
After feedback, I tried using the same design but with lesser elements. The elements shouldn't stand out or be so thick, unless it has a purpose. I took away the middle elements and made the bottom box become an outline instead. I think it looks better as the text are already organised, and the outlined box adds class and balance to the design.
Fig 2.9 Grid system second attempt (1/10/2025, Week 2)
Typefaces used:
Bodoni Std (Poster, Bold, Bold condensed, Bold Italic, Book, Book Italic)
Modular System
I like to think of this system as the truck and car puzzle, where the player has to rearrange the cars (small boxes) and the trucks (large boxes) in a parking space to allow one car to leave. It helps me understand how this system works - the information should be in boxes that are rearrangeable. I separated the space into 3 columns and 3 rows. All texts are limited to one unit, except the title, taking up two units. I made it have asymmetrical balance, as the left bottom has more weight. I kept the boxes and texts aligned inside each unit.
Fig 2.10 Modular system first attempt (29/9/2025, Week 1)
I arranged the information around a bit, to see what fits or have a better look. I also fixed the Taylor's School text to fit into one unit instead of in between.
Fig 2.11 Modular system second attempt (1/10/2025, Week 2)
Fig 2.12 Modular system third attempt (1/10/2025, Week 2)
Fig 2.12 Modular system third attempt (1/10/2025, Week 2)
Typefaces used:
Univers LT Std (55 Ultra condensed, 67 Bold condensed oblique, 57 Condensed, 57 Condensed oblique, 59 Ultra condensed, 49 Light ultra condensed)
I didn't like my idea at first, as I was testing out how to make it curvy and wavy. I just placed the text on top of one another, starting with the title in the middle. I used colour to highlight the important texts. I tried to make the text seem more random but layered on top of one another. I don't know why I like to arrange my text diagonally like that (lectures), I must really like stairs, huh.
Fig 2.13 Transitional system first attempt (29/9/2025, Week 1)
Fig 2.14 Transitional system second attempt (1/10/2025, Week 2)
The lecture texts look a bit messy and empty, so I redid it with something similar to the first attempt (Fig 2.12). I rearranged the elements until I was satisfied.
Fig 2.15 Transitional system third attempt (1/10/2025, Week 2)
Typefaces used:
Serifa Std (75 Black, 65 Bold, 56 Italic, 55 Roman)
I made a crisscross section in the middle. I wanted a symmetrical look, with the single axis being the vertical line. It is rather simple, with the information bearing on the vertical line, the title tilted sideways, and the lecture information are balanced on the side (the horizontal axis). I used lines as an element to emphasise the title and make aligned.
Fig 2.14 Bilateral system first attempt (29/9/2025, Week 1)
Typefaces used:Gill Sans Std (Extra bold display, Extra bold, Bold, Bold italic, Regular)
Final Submission: Exercise 1 - Typographic Systems
JPEG (300 ppi) Version
Fig 3.1 Axial System Final (3/10/2025, Week 2)
Fig 3.2 Radial System Final (3/10/2025, Week 2)
Fig 3.3 Dilatational System Final (3/10/2025, Week 2)
Fig 3.4 Random System Final (3/10/2025, Week 2)
Fig 3.5 Grid System Final (3/10/2025, Week 2)
Fig 3.6 Modular System Final (3/10/2025, Week 2)
Fig 3.7 Transitional System Final (3/10/2025, Week 2)
Fig 3.8 Bilateral System Final (3/10/2025, Week 2)
Fig 3.9 All Typographic Systems Final (3/10/2025, Week 2)
PDF Version
Fig 3.10 All Typographic Systems Final PDF (3/10/2025, Week 2)
Fig 3.11 All Typographic Systems Final PDF (Grids and Guide) (3/10/2025, Week 2)
Exercise 2 - Type & Play
Instructions
Select an image that has strong characteristics, preferably of a repetitive nature. The object or subject can be natural or manmade. The process has been broken into these steps:- Finding an image
- Deconstructing an image
- Identifying letterforms
- Extracting letterforms
- Identify a reference
- Refining letterforms
- Introduce consistency in height, width and contrast
- Deliberate on retaining or removing characteristics
- Decide what areas require simplification
Upon completing the letterforms, the letterforms will combine with the image that is the basis of the extracted letters, making a mock movie poster. The objective is to enhance/support the interplay between letterforms and the selected visual, weaving into a symbolic relationship with the image.
Part 1 - Extracting Letterforms
Process
1. Finding an Image
After some deciding and scrolling through images, I found one that I like: gecko scales.
Fig 4.1 Chosen Image: Gecko scales (5/10/2025. Week 3)
2. Deconstructing an Image
On Adobe Illustrator, I deconstructed the image with red colour - identifying the shapes of the scales and highlighting any potential letterforms. I wanted to focus on the scales, but I noticed the eyes have interesting shapes and lines too, so I deconstructed that.
Fig 4.2 Image Deconstruction (5/10/2025, Week 3)
I deconstructed different parts of the gecko to identify the varying shapes and forms. I observed that some scales have different shapes, but most are rounded hexagons. I decided to still keep to the scales to create my letterforms.
3. Identify Letterforms
I identified a few letters: S, R, C, F, P.
Fig 4.3 Identifying Letterforms (5/10/2025, Week 3)
4. Extracting letterforms
As the shapes look too complicated, I only managed to identify each single cell for C and F. Since I followed the exact shape I see, it is pretty messy at first. The rest of the letters, I only extracted the outline of the shape.
Fig 4.4 Extracting Letterforms (5/10/2025, Week 3)
5. Identify a Reference
I found two typefaces that look similar to the extracted letterforms: Kirang Haerang (top) and Oswald (bottom).
Fig 4.5 Identifying a Reference (5/10/2025, Week 3)
After cross-referencing the letterforms, I think Kirang Haerang fits the shape and style more.
Fig 4.6 Cross-referencing (5/10/2025, Week 3)
6. Refining Letterforms
After resizing and aligning the letters to a baseline, I started my refining process to digitalise the letterforms. With the single scales I extracted from before, I use that and align the scales at random with the letterform reference. I tried to follow the little quirks and the jagged ins and outs of the extracted letterforms, scattering the scales randomly, but also to fit in nicely, like a puzzle. I made an outlined one too.
Fig 4.7 Making the letterforms (5/10/2025, Week 3)
I tried to make the letterforms consistent, as I started with S and R first. After making the curve for S, I used it for the curves in R, P and C. After making the line in R, I used it in P and F. I used the baseline for a consistent height.
Fig 4.8 Refining Letterforms (5/10/2025, Week 3)
After Feedback
Mr. Vinod said that my refined letterforms don't exactly embody the chosen image. Because the image of the gecko isn't flat, the extracted shapes aren't similar in size and shape, as it is placed at different areas of the body and has a different angle. I should identify a part that has the same shape and pattern. The common shape is a standard hexagon. I could make hexagons and align them together to form the said letterforms, introducing more consistency, repetition and similarity.
Rework and Refinement
I took the flattest part of the image that has the most consistent pattern.
Fig 4.9 Selected Part of the Chosen Image (10/10/2025, Week 3)
I noticed there are tiny gaps in between each shape. The hexagons aren't sharp, but more rounded, almost like a circle. I started to make hexagon shapes, but make it more rounded than a sharp hexagon. I made a pattern by duplicating the hexagon shapes and made into the size of the references from above.
Fig 4.10 Making the Pattern (10/10/2025, Week 3)
I put the reference letterforms behind as a baseline and started deleting the unnecessary shapes. I made all the letterform shapes first. Like before, I started from S and R and used the basic shapes from there as the baseline for consistency. I used the same base for P, C, F and used the necessary amount of hexagons, leaving only the defining shapes of the letter. I added fill into the hexagons on the last row so that there are two sets I can use.
Fig 4.11 After Reworking and Refining (10/10/2025, Week 3)
Final Submission: Type & Play - Part 1
Fig 5.1 Chosen Image and Extraction (10/10/2025, Week 3)
Fig 5.2 Reference Font (Kirang Haerang) (10/10/2025, Week 3)
Fig 5.3 Refinement Process (10/10/2025, Week 3)
Fig 5.4 Final Letterforms on Baseline (10/10/2025, Week 3)
Fig 5.5 Original Extraction and Final Letterforms (10/10/2025, Week 3)
Fig 5.6 Collage of Image, Dissection and Extraction, Reference, Refinement and Final (10/10/2025, Week 3)
Part 2 - Making a Movie Poster
Process
I used the same picture as my chosen image for the movie poster. Since the background is black, I used a random colour I picked from the scales (an orange-yellow, #dd8426) to use as the colour for the letterforms. I used a mixture of the two reference fonts: Kirang Haerang and Oswald. Since I made letters that does not make sense, the title doesn't make sense. The tagline was also a little cheesy. I picked random logos and typed in random names.
After Feedback
The main part of the poster - the typography - is too small, as the image of the poster stills the attention instead. I should make the image smaller and enlarge the title to be the focal point. The phrase 'Coming Soon' is also too big and bold, making it the focal point. so make it smaller. The top information has to be the same size and use a margin for consistency. The sides also has too much information, either make it smaller or lessen it. The 'Studio Gecko presents' part is not readable. I don't have to add too much information, just enough to make it a movie poster.
I want to remove the blurry parts of the gecko, so I used Adobe Photoshop to remove the body. I put used the same black background as the image and placed the gecko at the center. I made the necessary changes and also used margins to place the elements using design principles as well. I also changed the title's colour. I made the strokes of the hexagon into a darker shade of orange, while the colour fill remains the same.
Fig 6.2 Title colour change (17/10/2025, Week 4)
I made some margins and started rearranging the elements. I made the type point size of the above information the same and aligned them together on the same margin. I enlarged the gecko enough to cover the movie poster nicely, while trying to balance the design with the title and let it become a secondary focal point. I added the made-up casts at the bottom, accompanied by a smaller and medium 'Coming Soon' phrase, which does not capture the attention, but big enough to be seen and read. I added orange boxes behind the logos so they can be seen on the black background. I let the tagline remain on top of the gecko.
Fig 6.3 Mock movie poster change 1# (17/10/2025, Week 4)
I made another attempt to try and see if I can make the gecko smaller. Since I photoshopped it, I can't just place it smack right in the middle with cut off body parts, so I put it at the side. However, I didn't like the empty space as it doesn't balance well.
Fig 6.4 Mock movie poster change #2 (17/10/2025, Week 4)
I changed some of the elements and removed the casts information and moved the main names down instead. I made the gecko smaller and place it using the rule of thirds. I fill the white space with the tagline to balance the design. I made the title bigger too. However, I was still unsatisfied with the empty spaces. So, in the end, so I continued making another one.
Fig 6.5 Mock movie poster change #3 (17/10/2025, Week 4)
I decided to change the direction and placement of the gecko element, allowing me to make the type bigger and balancing the elements out well. It has less information compared to the first remake attempt poster, and I changed the tagline phrases to better compliment the gecko element.
Fig 6.6 Mock movie poster change #4 (17/10/2025, Week 4)
I compared posters from Fig 6.3 and Fig 6.6 to see which is better. I still find that Fig 6.3 first remake attempt uses the space better and has a better engaging feeling to it as a mock movie poster. The latter poster (Fig 6.6) seems a little lackluster comparatively, as it seems more empty spaces. I think more information without making it too huge is a good contrast on a dull, dark background, making it seem livelier with the contrast.
Fig 6.7 Mock movie poster change #5 (17/10/2025, Week 4)
Final Submission: Type and Play - Part 2
JPEG (300 ppi) Version
Fig 7.1 Final Movie Poster (17/10/2025, Week 4)
PDF Version
Fig 7.2 Final Movie Poster PDF (17/10/2025, Week 4)
Feedback
Week 1:
Mr. Vinod explained the module and the first Tasks to be completed. We need to make our E-portfolio and view past student's blogs and follow their formatting. Following instructions is very important.
Week 2:
General Feedback: Firstly, understand the systems and explore creatively with your own judgement after listening to the feedback to learn. Don't add unnecessary elements that first draw your attention, the text must be the first one to stand out. Choose the colour carefully, as some are hard to read (red and black). Readability is the most important, but do it in a creative, different way. For the Axial system, all text must be aligned to only one axis. As for the Radial system, put a line through the text towards the circle to help align it properly. Random system has to be unorganised and messy, but in an artistic way. The Modular system is organised by "boxes", it could be 1-3, and the information must stay inside those boxes and could be rearranged around in said boxes. The Bilateral system is similar to axial, where the info has to be symmetrical along one axis only.
Week 3:
General Feedback: Be consistent with the features, using a variable of 1-2 elements among the letterforms. The strokes - thick or thin - should follow the forms that gives its feature but consistent at the same time. Use the same stroke/shape/element throughout creating the letterforms (like the line in I and curve in R) to create consistency and similarity. Use a larger part of the picture to find the letterforms, to have a similar texture and similar variation.
Specific Feedback: My type looks different from the original picture, where it doesn't look exactly right. Instead, find one part with consistent shapes - a hexagonal shape - to represent the scales and put them side by side with an outlined shape. My current one doesn't exactly look like the scales I want to show. Just copy paste the same hexagonal shape and fill in the letterforms.
Week 4:
General Feedback: Add logos and the right typeface for a poster, and make them clear to read. Add margins so that is is organised clearly. There is no need for excessive features or too much information and don't use dull backgrounds (as it may be underwhelming).
Specific Feedback: My poster's title (type) has to be the focal point, make the picture and other taglines/words smaller and not be the first to draw attention. There should be consistency between the font sizes and the usage of margins. Remove illegible texts and don't put too much information.
Reflection
Observation:
I observed I could fair better in this module compared to the previous typography module, realising that I did learn and grow from that module. Even though it seems a lot at first for this task, I managed to complete it in time, which was an improvement from beforehand. I observed that I like to break rules in design, but am still a little afraid in doing too much, which I should work on improving so that I can have better ideas in the future. I also see that I can work better in this 'Type and Play' exercise because there is more context and interest to the task rather than the previous module's task where I had to make my own typeface.
Experience:
At first it was a lot, as I spent a lot of time on some of the typographical system designs. However, I managed to finish that and gain a better understanding of the systems while holding unto the knowledge so I could use them in the future. I do acknowledge that it is easier and faster for me to use InDesign compared to my last semester, showing improvement and learning skills. I do enjoy making the type according to an item, and making an movie poster, as I usually appreciate typefaces with little details that gives context. They are visually appealing and fun to design, instead of using the same, mundane typefaces everyone uses.
Findings:
I find that this task helps me quickly understand and grasp the knowledge of how to use typographic systems, and in what ways I could break the rules to make it interesting for the viewer. I also find that learning how to analyse and break down the parts of an image or item, to understand the shape and form is important to create good and creative type, especially when creating a unique product. It is helpful for the future when designing anything original. However, I find that my weaknesses is taking the courage and space to break design rules and try something different. I sometimes like to stick to the same rules, which could be boring. I want to try expanding out of my comfort zone and create out-of-the-box ideas.
Further Reading
Typographic Systems by Kimberly ElamI researched further with the book 'Typographic Systems by Kimberly Elam' for this task and wrote down new information besides what I already learned.
The Circle and Composition
The circle can be used anywhere in a design (usually in one size and weight compositions) - it is a tool to guide the eye: creating a pivot point, tension, emphasis, or contribute to organisation and balance.
Fig 8.1 Circle placement in a design composition
Placing the circle in the upper left quadrant of a composition creates a starting point, whereas placing the circle in the lower right quadrant creates a stopping point. When the design is finished, it is encouraged to develop more compositions, only moving the circle.
Fig 8.2 Circle placement meaning
Non-objective Elements
This sharpens and articulates composition, enhancing functions of emphasis, organisation and balance, as it becomes functional guides to be used alongside typography and communicate the message clearly by directing the viewer's eye through a hierarchical order. However, the use of these elements should not be overdone and overwhelm the message, such as the volume of colour or the complex shape.
Fig 8.3 Explanation of non-objective elements
Fig 8.4 Different examples of non-objective element usage
Further Explanation of the Typographic Systems
1. Axial System
This system helps the designer develop awareness of grouping, word space, letter space, leading and composition, as the elements have a direct relationship through alignment along the axis, demonstrating order. It is difficult to create a composition that transcends the norm, which designers will seek alternate textures and compositional arrangements.
Fig 8.5 Phases of exploring the axial system
Narrow Column Widths
These are short line lengths that provide the most variability in the position of the axis. For example, in Fig 8.6, the line length is reduced to a single word, with the narrow gray rectangle compared to the proximity of the black field creates tension. Emphasis is brought to the red circle.
Fig 8.6 Example of axial narrow column width
Asymmetrical compositions can be created when moving the axis right or left. It creates a more interesting composition, as the proportion of the white space changes, which engages the viewer's eye.
Fig 8.7 Axial asymmetrical compositions
Wide Column Widths
Longer line lengths are less flexible. In the example of Fig 8.8, there is a change of proportion in the space above and below the text, experimenting with the lines that does not need to be horizontal or right side up. The slight variations from the baseline are visually unsettling, which attracts attention. The text can be separated by changes in tone too.
Fig 8.8 Axial wide column width example
Fig 8.9 Axial wide column width second example
Transparency
The nonobjective elements as transparent overlapping planes is engaging, forming a rhythm and colour change, which emphasises the axis.
Nonobjective work only begins after the designer has experimented with composition using only one size and one weight of type. Below in Fig 8.11 shows the designer's process, developing a strong axial composition in preparation for working with nonobjective elements.
Fig 8.11 Axial process before nonobjective elements
Fig 8.12 is an example of how changes in tone and the nonobjective transparent elements can enhance a composition. There are two rectangles and a circle which highlights the presence of the rectangle corner. Groups of text are identified by changes in tone, and the longest text lines are placed near the edges of the rectangles.
Fig 8.12 Axial transparent nonobjective element
Horizontal Movement
Many axial compositions have a strong vertical movement due to alignment on a single axis. However, like in the example of Fig 8.13, the change is made with horizontal rectangles that emphasises the title. All elements respond to the axis but the horizontal movement is so strong that they appear to float. Below in Fig 8.14 shoes the thought process.
Fig 8.13 Axial horizontal movement
Fig 8.14 Axial horizontal thought process
Shaped Background
Nonobjective elements can expand to create a background that shapes the space. These shaped background guides the eye to follow the text and adds visual interest, which can make axial compositions appear more lively. In Fig 8.15, the repeated and split circle provides contrast on the vertical axis, with the light gray texts creating contrast on the dark gray field.
Fig 8.15 Axial shaped background example
The below example in Fig 8.16 shows the background space on the left being divided with a step-stairs shape that echoes the shape created by the block of texts. On the right, the circle overlaps the contrasts with interior gray shape that leads the eye to the axis and the text.
Fig 8.16 Axial shaped background second example
Implied Shaped Axis
An axis perpendicular to the baseline is the most common arrangement, but shaped axis could be used too. These can include a single bend or multiple bends that creates a zigzag effect. Grouping of the lines of texts allows the composition to appear less complex and more cohesive.
Fig 8.17 Axial implied shaped axis example
Explicit Shaped Axis
The use of tone and nonobjective elements sharpens the composition by using colour to divide the spaces and emphasise the shape of the axis, resulting in compositions that are striking and visually forceful.
Fig 8.18 Axial explicit shaped axis example
Fig 8.19 Axial explicit shaped axis second example
Diagonal Axis
Any axial composition can be rotated diagonally. Since the diagonal is the most dynamic visual direction, the result is an active composition with implied movement; the compositional space becomes more complex because the negative space is divided into triangles rather than rectangles or squares. The one size and one weight example, Fig 8.20, alters the rotation to diagonal. The composition in Fig 8.21 then adds a black background and shaped gray field that breaks up the space, creating an emphasis on the time.
Fig 8.20 Axial diagonal axis though process
Fig 8.21 Axial diagonal axis example
Another example, is when the text lines are placed diagonally on a vertical axis. There is a strong sense of movement as the viewer's eye moves toward the axis. In the example below, the geometric rectangle of black space contrasts with the irregular space on the left. There are also changes in grouping, tone, and leading, which emphasises a hierarchy.
Fig 8.22 Axial diagonal axis second example
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