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The Eight Typographic Systems 

What is typographic system?

The term 'typographic system' is used to refer to various frameworks or structures that help to organize and arrange parts of a typographic nature in a visual design. 

What are the elements of typographic system?

There are totally 8 elements of typographic system as follows

• Axial

• Radial

• Dilatational

• Random

• Grid

• Modular

• Transitional

• Bilateral

Axial System

• The axial system involves arranging organizational elements in reference to a singular axis. 

• The primary reference point for alignment is the axis. Although simple, this axial system may create both symmetrical and asymmetrical looks, depending on how elements are placed in relation to the axis.

• Asymmetrically arranged elements are much more engaging than those that are evenly arranged.

• In this system, designers have to consider more cutting space, letter spacing, and line breaks that communicate information. 

• Variation in the widths of the columns, transparency, and color variation can add interest to the axial design. 

• The axis may take an obvious form or remain implied-silhouetted with zigzags or diagonals. 

• The placement and weighting of nonobjective elements will influence the visual hierarchy along with the dynamic of the axial system.

Radial System

• Elements are arranged radially in the sense that they are mapped to a central area of focus. 

• The natural world provides illustrations of radial structures, such as flowers and fireworks. 

• Radial legibility is manipulated by orienting lines of text in all sorts of ways-top to bottom, bottom to top, or even upside down. 

• Although they inevitably tend toward symmetry, introducing asymmetry generates compositions that are at least more interesting if not that satisfying. 

• The central focus anchors the design, and the center lines radiate out like beams of light. 

• Emphasis, grouping, and hierarchy can be manipulated using size, color, and position of elements within the radial structure. 

• Transparent planes overlapping one another and a composition enclosed by shapes add richness and complexity. 

• Proper layout of text along radiating lines is important, along with the angles of those lines. 

• Central to the whole system is the notion of isolating a spiral or a circle of large proportions as the ultimate focus. 

Dilatational System

• The Dilatational System implies that design movement occurs in a circular motion in expansion or contraction from a center. 

• This system of organization is radial like the radial system, but the emphasis is on moving along concentrical or eccentric circular paths instead of flowing radial. 

• In an axial system, the sense of dynamic motion is conveyed, much like rippling water and eye movement. 

• The way text and other elements are arranged along those circular paths sets up a reading experience.

Random System

• The elements of a random system show apparently no sense of pattern or relation among them. 

• This often leads to the spontaneous and dynamic feel of such constructions. 

• Work in random system usually starts by throwing some elements around like it would be done unconsciously, but all good composition requires a careful cropping and overlapping along with a good placement of texts that come together for a visually satisfying result. 

• There are no rules that will say this is how to do it but by experimentation one may find quite a number of characteristics that make a particular random composition. 

• Overlapping and cropping in several angles are natural phenomena in this system. 

• Non-objectives could then be used to promote the energy of visuals and change the communication within this chaotic field. 

• Backgrounds shaped can be used to counterpoint the lines of text.

Grid System

• The system divides space using a horizontal and vertical cross. 

• The grid helps to organize typographic elements into rows and columns, providing a sense of order, clarity, and consistency. 

• In publication design and web design, grids typically establish hierarchy and thereby promote visual rhythm. 

• Vertical movement tends to be supported largely by negative counter forms presented through letters.

• Seemingly whole, grids will often allow the designer organization into groups and subgroups of text to create a hierarchy. 

• Within the grid, tone may be employed to direct the observer's eye. 

Modular System

• A modular system has several non-objective elements that are fabricated as standard units. 

• These modules can be as simple geometric shapes such as squares or circles, thus framing the entire composition. 

• The modular system relies on standardization and repetition to create a sense of unity and order. 

• The module is often defined by typographic lines and words. 

• Compositions can include varying sizes for the modules, overlapping shapes, and changing scales.

• Circle modules, for example, might create strong visual unity with the use of overlapping and transparency.

• Square modules can also be arranged with the constant variation of size and transparency for some sort of visual interest.

Transitional System

• It should be noted that this system is largely informal, commonly using layer and shift banding. 

• There are no constricted relationships or strict alignments between any of the figures; rather, there is a sense of freedom and movement. 

• Compositions can feel airy, or tightly compressed, and often the negative is emphasized. 

• Movement is the main quality, with strong, vertical alignments creating a sense of visual stop and start.

• Nonobjective elements can edify the typography and lead to a kind of vibration or anchoring of the message. 

• Common to transitional systems are direction changes and the use of contrast in tone and texture.

• Nonobjective planes and rules can either hold text or provide a background texture.

Bilateral System

• This system is symmetrical about a central axis. 

• A design object that seems to be "mirrored" by something on either side creates balance, even formalism. 

• The bilateral approach is, in fact, the most symmetrical of visual organizational systems. 

• Yet running the axis slightly off-center or placing nonobjective elements in asymmetrical order can tease life into the composition. 

• Although symmetry is paramount, variations in tone and strategic breaks in line subtly manipulate the otherwise balanced equation. 

• Nonobject-based manifestations in squares and circles may in fact serve to underscore symmetry or create visual interest.