All graphic and typographic designs are based on a structural system. According to Elam, there are eight main typographic systems, each of which has an infinite number of variants. These systems help organize text and visual elements so that they are readable, logical, and visually appealing.

There are 8 major variations according to Elam, 2007:

Axial
Radial
Dilatational
Random
Grid
Modular
Transitional
Bilateral

1. Axial The elements are placed along the same axis — vertical, horizontal or diagonal. It is used to create an ordered and balanced layout.

Figure 2.1.1 Axial System, (23/04/2025, week 1)

2. Radial The composition is built around a central point from which the elements radiate in a circle or spiral. It is often used for posters and logos.

Figure 2.1.2 Radial System, (23/04/2025, week 1)

3. Dilational The elements are placed in concentric circles, creating an expansion or wave effect. Such a system attracts attention and creates a sense of movement.

Figure 2.1.3 Dilational System, (23/04/2025, week 1)

4. Random The elements are placed without apparent logic, creating a sense of chaos. Despite the freedom, the system still requires visual balance.

Figure 2.1.4 Random System, (23/04/2025, week 1)

5. Grid The most common system. The layout is based on a grid with columns and rows, which helps to organize text and images in a clear and structured way.

Figure 2.1.5 Grid System, (23/04/2025, week 1)

6. Modular It looks like a grid system, but each element is placed inside repeating modules (blocks). Ideal for systemic and repetitive information.

Figure 2.1.6 Modular System, (23/04/2025, week 1)

7. Transitional It combines different systems and creates smooth transitions between elements. It is often used for dynamic layouts.

Figure 2.1.7 Transitional System, (23/04/2025, week 1)

8. Bilateral The elements are symmetrically placed relative to the central axis. Creates a strict and formal composition.

Figure 2.1.8 Bilateral System, (23/04/2025, week 1)

The main idea Typographic organization is a complex process because all the elements depend on communication to fulfill their function. In addition to structure, aspects such as hierarchy, reading order, readability, and contrast play an important role. Typographic systems and shape grammars

Typographic systems are similar to shape grammars in architecture — they are a set of rules that are used to create a design structure.
These systems give the design a purpose and focus, as well as help in making decisions when designing a composition.
Like shape grammars, typographic systems provide a unique set of rules that can be adapted to different tasks.

About the balance between intuition and the system

Some may think that strict systems interfere with an intuitive approach.
However, systems play an important role in educating designers by providing a reliable framework within which intuition can develop and strengthen over time.

Quote from Elam, 2007 “The typographic systems are similar [to shape grammars] in that the systems have a set of rules that is unique and provides a sense of purpose that focuses and directs the decision making.”

Week 2 AdTypo_2_Typographic Composition

Principles of composition in design: The composition is based on a number of key principles, such as:

Emphasis
Isolation
Repetition
Balance (symmetry/asymmetry)
Alignment
Perspective
Rhythm
Contrast

Figure 2.1.9 Principles of Design (23/04/2025, week 2)

Although these principles are traditionally applied in working with images, their adaptation to typography can be difficult. Working with text as a visual element requires rethinking these principles and the ability to combine images, text and color into a harmonious composition.

Figure 2.1.10 The Rule of Thirds, (23/04/2025, week 2)

Rule of Thirds: This is a 3×3 grid where the points of intersection of the lines are used to place key elements. Although it is more commonly used in photography and visual design, knowledge of this rule can also be useful in typography.

Figure 2.1.11 Examples of Environment Grid, (23/04/2025, week 2)

This system is based on a visual study of architectural or graphic forms that already exist. Based on them, unique compositional lines are created — both straight and curved — which become guides for placing text and other elements.

Figure 2.1.12 Form and Movement, (23/04/2025, week 2)

Other composition systems: Environmental Grid (An environment-based grid): The system is created based on an analysis of the existing architecture or structures. It is suitable for creating designs related to a specific space or context. Form and Movement: Developed by Mr. Vinod. It is based on moving shapes (text, images, colors) across pages. Creates a sense of movement and dynamics in the layout. Black and white shapes can be replaced with visual elements, which makes the composition more expressive and lively.

Week 3 Ad Typo_3_Context&Creativity

Handwriting shaped the foundation of typography, influencing the structure, spacing, and conventions of early mechanical type. The first printed letterforms directly imitated handwritten styles.

Early mechanical typefaces were based on handwriting. Handwriting shaped the structure, spacing, and conventions of type. Tools like bones, charcoal, brushes, reed pens, and steel pens influenced the form and line of letterforms. Surfaces like clay, papyrus, animal skin, and paper also played a key role in shaping writing styles.

Figure 2.1.13 Cuneiform and Hieroglyphs, (23/04/2025, week 3)

During colonial times, Western scholars emphasized Greek and Roman history while ignoring Egyptian, Middle Eastern, African, and Asian contributions. This led to Eurocentric ideas dominating design and typography history.

Early Writing Systems:

Cuneiform: One of the earliest writing systems, developed from pictograms and written left to right.
Hieroglyphs: Used ideograms, phonograms, and determinatives to convey meaning and sound.

Development of Letterforms:

Early Greek: Alternated reading direction (boustrophedon), drawn freehand, no serifs.
Roman Uncials: Rounded forms for faster writing, popular by the 4th century.
English Half Uncials (8th C.): More slanted and compact.
Carolingian Minuscule: Standardized style, foundation of modern lowercase roman type.
Blackletter: Dense and vertical, used to save space and materials in books.
Movable Type: First used in East Asia (China, Korea, Japan); Koreans cast movable bronze type.

Global Evolution of Scripts:

Middle Eastern Alphabets: Influenced by Egyptian scripts, focused on phonetic symbols.
Chinese Script: Progressed from Oracle bones to Seal, Clerical, and Simplified scripts.
Indus Valley Script: Ancient, undeciphered, likely logo-syllabic.
Brahmi Script: Root of many South and Southeast Asian writing systems.

Figure 2.1.14 Letter form through the ages, (23/04/2025, week 3)

Week 4

AdTypo_4_Designing Type

According to Xavier Dupre (2007), there are two main reasons:

Social responsibility – Good type design should be clear and easy to read for everyone.
Artistic expression – Creating type can also be a way to express your creativity and personality.

Examples of Typeface Design:

1. Frutiger – by Adrian Frutiger

Designed in 1968 for a French airport.
A clean and readable sans-serif font.
Needs to be seen from far away or in bad lighting.
Letters had to be recognized quickly, even by people walking past fast.
Figure 2.1.15 Photo from Lecture (23/04/2025, week 4)

2. Verdana – by Matthew Carter

Made for screens and websites.
Easy to read even in very small sizes.
Inspired more by digital pixels than traditional writing tools.
Special care was taken so letters like i, j, and l wouldn’t be confusing.
Figure 2.1.16 Photo from Lecture (23/04/2025, week 4)

Figure 2.1.17 Photo from Lecture (23/04/2025, week 4)

3. Johnston Sans – by Edward Johnston

Designed in 1916 for London’s Underground (subway system).
Simple, bold, and easy to read on posters and signs.
Became iconic in public transport design.

1. Research

Learn about the history of type, letter parts (anatomy), and design rules.
Know terms like side-bearing, metrics, and hinting.

2. Sketching

Start drawing letters — by hand or using digital tools like Wacom.
You can use pens, brushes, or go straight to software — it depends on your style.

3. Digitising

Use programs like FontLab or Glyphs to build your font.
Some people also use Illustrator.
Make sure the shapes and empty spaces (counterforms) help readability.

4. Testing

Test how your font looks and reads in different sizes and situations.
Try to fix anything that feels off or hard to read.
Display fonts and text fonts have different needs!

5. Deploy

Even when a font is “finished,” small problems may appear later.
Good testing helps reduce these issues.

Typeface Construction

Roman Capital
To build Roman capital letters, designers often use a special grid. This grid starts with a square, and inside it there's a circle that touches all four sides of the square. Then, a rectangle that’s about three-quarters the size of the square is added in the center. This setup helps guide the proportions and curves of the letters. Using circular grids like this makes it easier to design balanced and beautiful letter shapes.

Construction and Considerations
Letters in the alphabet can be grouped based on how they are built — capital letters in one group and lowercase in another. Each group has different shapes and rules for how the letters are designed.

When creating a new typeface, you have to think about how each shape works visually. For example, curved letters often need to go slightly above or below the standard lines (like the baseline or cap height) to look right next to straight letters. This is called visual correction.

Fitting
When placing letters side by side, they can’t just have equal space between them. The goal is to make the space look even to the eye. So designers adjust the spacing between letters to create a smooth and balanced flow — this process is known as fitting.

Сontext & Creativity

Intrinsic Motivation:

You create a typeface because you want to.
Maybe you see a problem and want to fix it through your design.

Extrinsic Motivation:

Someone gives you a task or a client needs a typeface.
Even then, it’s important to care about the idea, understand its use, and meet the needs of the people who will use it.

EXERCISE 1: TYPOGRAPHIC SYSTEM

Week 1

Exercise 1_Typographic System

In this exercise, we are instructed to come up with 8 layout designs using different typographic systems.

Content Details:

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

I decided to choose Russian Constructivism and Graphic Design.

3.1 Research

I explored examples of Russian Constructivism and graphic design on Pinterest.

This visual style is characterized by bold geometry, a limited color palette (mostly black, red, and white), dynamic typography, and strong use of asymmetry and structured composition.

Common elements include photo montage, large blocky headlines, angular shapes, diagonal lines, and an industrial or political theme.

Figure 3.1.1 Additional Research, (23/04/2025, week 1)

These works inspired me to experiment with:

strict geometric forms (circles, triangles, lines),
bold, impactful typography,
compositions that convey movement and direction (especially diagonals),
strong color contrasts and visual rhythm.

3.2 Progress

Figure 3.2.1 Axial System first attempt, (25/04/2025, week 1)

I started with the axial system and created two variations.

One version follows a straight vertical axis, while the other is slightly tilted at an angle to add more dynamic movement. Mr. Vinod mentioned that we could add graphic elements and color, but not to overdo it. So, I decided to introduce a touch of red to emphasize key information while keeping the overall layout clean and balanced.

Personally, I preferred the first version because of its clean and structured alignment. It feels more balanced and visually organized compared to the angled layout.

Figure 3.2.2 Radial System first attempt , (25/04/2025, week 1)

For the radial system, I created two versions as well. I personally preferred the first one because it felt more harmonious and visually engaging. One of the challenges I faced was aligning the text perfectly along the circular path. To solve this, I added a guide to help me position the text more precisely.

Figure 3.2.3 Dialtational System first attempt , (25/04/2025, week 1)

When I started creating the radial system, it was quite difficult for me to figure out how to properly organize the text in a circle. At first, the result looked sloppy, and the elements didn't line up in the right shape. To figure it out, I turned to the materials from the lecture and additionally studied several examples.

As a result, I realized that I needed to use circles as guides — this helped to place the text symmetrically and more precisely along the radius. I also experimented with different numbers of circles and the angle of rotation of the text to achieve the most balanced visual result. This process gave me a better understanding of how the radial printing system works.
Figure 3.2.4 Process #1 , (28/04/2025, week 1)

While working on this assignment, I tried to experiment with different typographic systems to understand how they function and how to achieve a visual balance. I tried to rearrange the text in various compositions — axial, modular, mesh, two-sided, transitional, random, and others. I constantly moved the elements, changed the location and saw what the result was.

Figure 3.2.5 Process #2 , (28/04/2025, week 1)

After receiving feedback from Mr. Vinod, I continued to make adjustments.It was a trial and error process, but it helped me get a better feel for the structure and principles of each system. Gradually, I began to understand how to use guides and a grid to achieve a more accurate and thoughtful layout.

Figure.3.2.6 8 system compile (Week 1, 28/04/2025)

These are the final layout designs I selected for each typographic system.

3.3 Final Outcome

Figure 3.3.1 Final Axial System - JPEG / Week 2 (28/04/2025)

Figure 3.3.2 Final Radial System - JPEG / Week 2 (28/04/2025)

Figure 3.3.3 Final Dilatational System - JPEG / Week 2 (28/04/2025)

Figure 3.3.4 Final Random System - JPEG / Week 2 (28/04/2025)

Figure 3.3.5 Final Grid System - JPEG / Week 2 (28/04/2025)

Figure 3.3.6 Final Modular System - JPEG / Week 2 (28/04/2025)


Figure 3.3.7 Final Transitional System - JPEG / Week 2 (28/04/2025)

Figure 3.3.8 Final Bilateral System - JPEG / Week 2 (28/04/2025)

Figure 3.3.9 Final Task 1 - Exercise 1: Typographic Systems - PDF, Week 2 (28/04/2025)

Figure 3.3.10 Final Task 1 - Exercise 1: Typographic Systems Grids and Guides - PDF, Week 2 (28/04/2025)

EXERCISE 2: TYPE & PLAN

Week 3

Choose an image of an artificial object with an expressive shape. Analyze its composition, highlight the main geometric elements. Using a reference font to guide you, develop letter shapes based on the image fragments. Integrate the resulting letters into the image, achieving visual and stylistic harmony between the text and the object.

Task:

Select an image of an artificial object and disassemble it into visual elements, from which you can select shapes resembling letters.
At least 5 letters should be developed based on these fragments.
The created letter shapes are gradually transformed — from rough, primary outlines to clean and clearly drawn characters, while maintaining their connection with the original elements of the image.
In the final composition, the text and image should work as a single whole, visually supporting each other.

Submission:

The image that served as the source.
Primary letters extracted from image fragments (on the baseline, created in Illustrator).
The reference font used is for orientation in proportions.
Final letters aligned with the baseline.
Comparative block: initial fragments and finished letters presented side by side to illustrate the evolution of forms.
Poster size: 1024px x 1024px
Export JPG 300ppi

4.1 Research

I decided to choose glass because this material has interesting visual properties: it can be smooth, transparent, shiny, or, conversely, cracked and brittle. I was particularly inspired by the idea of broken glass, as the shards form sharp, graphic shapes that can be interpreted as letter elements. This way, I can assemble typography from fragments of glass, in which each letter looks like part of a broken surface. This allows you to link text and image not only visually, but also conceptually.

Figure 4.1.1 Screenshot Research / Week 2 (04/05/2025)

Before starting work, I decided to study templates and examples to better understand how to visually and compositionally combine text with an image. I noticed the posters that used broken surfaces, glass textures, transparent layers, and glare effects. This helped me determine in which direction I want to develop my composition, what techniques to use, and how to maintain harmony between the text and the background. I also looked at examples of typographic solutions where the shape of letters was formed from fragments — this inspired me to create a unique, "broken" font corresponding to the idea of glass.

Figure 4.1.2 Choice of Glass / Week 2 (02/05/2025)

4.2 Progress

Figure 4.1.3 Letterforms Extraction / Week 2 (04/05/2025)

I carefully observed and searched for letterforms within the shapes and edges of shattered glass. By exploring the natural forms and contours, I was able to collect and compose the word GLASS.

Figure 4.1.4 Extracted Letterform / Week 2 (04/05/2025)

To create my own font, I started by choosing the Bohemian Soul Regular font, which I used as a visual reference. I've reduced its transparency and placed it in the background so that my glass letters stand out better and match easily in shape and size. I chose the Bohemian Soul Regular font from the Google Fonts library as the basis.I wanted my own font to reflect the unique character of the glass texture that I used for each letter.

Figure 4.1.5 Reference Font with Extracted Letterforms / Week 3 (05/05/2025)

During the editing, I tried to preserve the characteristic features — the effect of refraction of light and scattered color spots, so that the letters look alive and convey the feeling of real glass. I also adjusted each shape to the overall style in order to achieve visual harmony and wholeness of the entire composition.

Figure 4.1.6 Process of adjusting the extracted letterforms / Week 3 (05/05/2025)

Next, I gradually refined the shapes, combining the aesthetics of glass with readability. I experimented with transparency, shadows and outlines to preserve the effect of broken glass, but at the same time achieve a visual balance.

Figure 4.1.7 First Attempt of Letterform Extractions / Week 3 (07/05/2025)

At the final stage, I refined the letters, adding sharpness and contrast to make them look expressive and coherent. The final font reflects both the fragility and beauty of glass, while retaining the recognizable structure of the word GLASS.

AFTER RECEIVING FEEDBACK

Figure 4.1.8 Before and After / Week 3 (07/05/2025)

After the first presentation of the work, I received feedback. He noted that the shape of the letters needs to be improved in order to better convey the visual characteristics of the glass. In particular, he advised removing an excessive number of small details, as they interfere with perception and make the letters too "noisy".

It was also suggested to pay attention to the real cracks in the glass — they are usually straight and sharp, rather than randomly broken. It was important to take this into account in the final design. In addition, Mr. Vinod recommended adding internal cracks inside the letters themselves to create a depth effect and enhance the association with broken glass. After this review, I revised the structure of the letters, simplified their outlines, and started working on a more realistic style inspired by the shapes of real glass cracks.

Final Outcome of Finding Type

Figure 4.1.9 Image and Extraction / Week 3 (10/05/2025)

Figure 4.1.10 Overall Process / Week 3 (10/05/2025)

Figure 4.1.11 Extracted Letterforms (Baseline) / Week 3 (10/05/2025)

Figure 4.1.12 Reference Font / Week 3 (10/5/2025)

Figure 4.1.13 Final Letterform / Week 3 (10/05/2025)

Figure 4.1.14 Exercise 2 Part 1 PDF Compilation, Week 3 (10/05/2025)

4.3 Poster Development and Process Work

For the poster, I decided to look at the examples first, I watched the movie posters in Pinterest to better understand their structure and basic elements. He paid special attention to how the text interacts with the image — this is important for creating a harmonious and readable design.

The poster should contain the names of the director and the main actors, as well as the logos of the producing companies. Also write additional information.

Figure 4.3.1 Poster Research/ Week 3 (10/05/2025)

While working on the poster, it was difficult for me to find a suitable image with broken glass. Most of these photos had overly complex or textured backgrounds, which made the text on the poster difficult to read and lost in the background. I had to spend a lot of time searching and experimenting with different variants in order to find a balance between an expressive visual image and good font readability.

Figure 4.3.2 examples for the poster/ Week 3 (10/05/2025)

So I decided to create my own image that would be better suited for my poster. My idea was to show multicolored glass beads underwater — the water enhances their brilliance and makes the image more expressive and interesting. This solution helped to keep the text readable and at the same time add depth and dynamics to the composition.

Before starting to work with the image, I decided to first write the basic information and subtitles for the poster. This helped me understand how much space the text would take up and how best to position it on the composition.

Figure 4.3.3 Text being Structured before Placing The / Week 4 (13/05/2025)

Title: GLASS

Subtitle: BROKEN BUT STILL SHINING

Produced by: Taylor's University

Created by: Begimbaeva Aidina

Organized by: The Design School

Information: TAYLOR’S UNIVERSITY presents a shattered vision by BEGIMBAEVA AIDINA

in collaboration with TYPO PICTURES and GLASSWORK STUDIOS

Art Direction by Crystal Mirage Cinematography by Prism Bayu

Visual Effects by Fracture FX Music by Echo Shards Designed through fragments.

Crafted for reflection. IN CINEMAS NOW

Logo: IMAX ; Universal ; Dolby ; Netflix

After I posted the text and selected the image, I came up with the idea to make the word GLASS visually "glassy" so that it would further reflect the essence and mood of the poster. I wanted the font not only to convey information, but also to be visually associated with the glass material. To do this, I switched to Photoshop, where I started experimenting with effects: I added transparency, light highlights, and textures that mimic the reflection and refraction of light. This helped to make the title more expressive and integrate it into the overall atmosphere of the poster.

Figure 4.3.4 Process in Photoshop / Week 4 (12/5/2025)

Figure 4.3.5 the glass word effect / Week 4 (13/05/2025)

To enhance the effect, I also decided to add color accents to the inscription — as if the word GLASS consists of multicolored glass beads. This made the title even closer in visual style to the image and created a seamless perception of the poster.

Figure 4.3.6 with colors / Week 4 (13/05/2025)

After I worked out the text and created a visual effect for the title, I moved on to refining the image itself. Photoshop helped me a lot with this — I used it to adjust the brightness, contrast, color balance and depth of the image. I also adjusted the lighting to make the water and glass look more realistic and visually in harmony with the text design. This made it possible to achieve a holistic and expressive visual image in which text and image complement each other.

Figure 4.3.7 Process in Photoshop / Week 4 (13/05/2025)

At the very beginning, I added a multicolored background to brighten the poster and create a foundation with an expressive mood. Then I applied the water effect on top, so it felt like the glass was under water. This not only enhanced the visual effect of brilliance and depth, but also helped to realize my main idea — to make the image lively and atmospheric.

Figure 4.3.8 Process in Photoshop / Week 4 (13/05/2025)

At the same time, I tried not to overdo the effects so that the background would not distract attention from the main text and the compositional center. It was important for me to maintain a balance: the background had to complement the idea, create the right mood, but not draw all the attention to itself. Therefore, I carefully selected the transparency level, brightness and color accents to achieve a harmonious visual result.

Final Submission of Poster

Figure 4.3.9 Final Poster/ Week 4 (13/05/2025)

Figure 4.3.10 Final Poster PDF / Week 4 (13/05/2025)

FEEDBACK

Week 1

General feedback:

In the first week, Mr. Vinod took us into the typography module. We were told what to expect from the course and what topics would be covered during the semester. He also asked us to create an electronic portfolio on Blogspot where we would document our work process, experiments, and research. Emphasis was placed on the importance of independent study, reference analysis, and constant practice.

Week 2

General feedback :

Mr. Vinod discussed the key principles of text and design, emphasizing that typeface should always remain the focus. He explained that properly spaced margins are the foundation of layout, and the size of the body text should not go beyond 8-12 pt. All elements on the page should be clearly arranged within the margins, excluding some design features. It is important to avoid sharp angles and strive for balance in the composition by creating contrast and playing with space. Mistakes, according to Mr. Vinod, are an inherent part of the process and it is important not to fear them, but to use them as an opportunity for growth.

Specific feedback:

Overall, the design of the eight systems was accepted without caveats. However, he added that the grid poster appeared too cluttered. The transitions should be smoother and the modular grid should be emphasized more clearly with lines to make it more structured.

Week 3

General feedback :

It's also worth making sure that the letters remain readable, especially if you're experimenting with shapes that are close to abstract. In the next step, you can try to strengthen the character of the letters a little, while maintaining the connection with the original object.The font used as a reference should not be decorative. The height and width must be the same. To improve the work, you can think about introducing a little variation between the letters. Even if they are built according to the same principle, small differences in details or proportions will make the font visually more interesting and lively.

Specific feedback:

There are characteristic cracks in the image, and they should be reflected in the structure of the letters. This will enhance the visual connection with the object and make the composition more expressive.It is also important to get rid of small, random details, as the glass in your case is broken cleanly and smoothly, without chaos. It is better to focus on clear, sharp shapes and directional lines in order to preserve the aesthetics of the source material and make the letters more expressive and neat.

Week 4 General feedback:

Before starting the layout, it is important to set the grid and margins — this creates visual order and helps to avoid overloading. It is also worth remembering that the design should not overlap the meaning: the main thing is to convey information clearly and clearly. These principles are important to achieve a balance between aesthetics and function. Make sure that the text is readable and functional so that viewers can read it. Don't forget to specify the fields. Before proceeding with the layout and placement of elements, set the hierarchy and fields. Specific feedback:

The text must be readable and functional so that the audience can read it. It is important to pay attention to the consistency between text and graphics so that the integrity of perception is maintained.

REFLECTIONS

Experience

During this exercise, I gained valuable experience working with typography and visual design. We created eight layouts using different typographic systems, which allowed us to understand how a variety of approaches affects the perception of the text. Of particular interest was the task of choosing an image of an artificial object with an expressive shape, which expanded my skills in analyzing composition and shapes. Working with a reference font and creating letters based on image elements gave an idea of how to transform visual objects into typographic forms and combine them into a single harmonious composition. Observations

I noticed that a careful analysis of the geometric elements of the image helps to identify the characteristic lines and shapes that perfectly form the basis of the letters. Integrating letters into an object requires a balance: the font should complement, not overload, the visual structure. It is also important to take into account stylistic unity — the color, scale and location of the text should be in harmony with the image in order to create a solid and expressive design. Different typographic systems have different effects on emotional perception, and their choice significantly changes the final effect. Findings

This exercise confirmed that typography is not just a set of symbols, but a powerful visual expression tool that is closely related to form and composition. Using image fragments to create letters helps to unlock new creative possibilities and achieve a unique design. The final poster, stylized like a movie poster, demonstrated how typography and visual elements can work effectively together to create a memorable and expressive image. In the future, I plan to apply these approaches to develop more complex and creative projects.

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Aidina Begimbaeva (0380489)

Advanced Typography: Task 1 Exercises

INSTRUCTION

AdTypo_4_Designing Type

Examples of Typeface Design:

Сontext & Creativity

FEEDBACK

REFLECTIONS

FURTHER READING

Week 3

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