Advanced Typography: Task 3 Type Exploration & Application
SHIMANLIN,（0375858)
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 3: Type Exploration & Application
JUMP LINK
For this task, we will define our own project direction. We may choose to either design a new typeface that addresses a specific problem in our field of interest (such as Graphic Design, UI/UX, Animation, Entertainment Design, etc.) or investigate how typefaces can be applied within that field.
Our final deliverable will show our type design in context—demonstrating how it solves or explores the chosen issue. This could take any form appropriate to our concept, such as animation, 3D rendering, print collateral, environmental graphics, projection mapping, film or game titles, or alternative materials and techniques.
Week 9
Proposal of 3 ideas
Fig 1.1 Proposal, Week 9 (17/6/2025)
I chose my idea1. My goal is to design a font that is both readable and aesthetically pleasing. Its visual language is slender, restrained, and elegant. The target users of this font are those who seek a serene reading experience, are sensitive to aesthetics, and value the layout rhythm and texture - it can be used for the main text, as well as for headings, subheadings, or high-end brand content.
Source of inspiration
The design inspiration is partly derived from classic serif fonts such as Bodoni and Didot. However, I did not simply replicate their cold and stern style. Instead, I introduced more flexible proportions, open structures, and readability considerations from contemporary fonts to create a "modern elegance" that is more suitable for the contemporary visual context. I was also influenced by the layout of some fashion brands and the French editorial style, which emphasizes a sense of breathing, minimalist proportions, and detailed embellishments. These elements align with the direction I aim to convey.
Week 10
After becoming familiar with the design process, I decided to start drawing the letter structure directly in Adobe Illustrator, as this would allow for easy adjustment of proportions and optimization of details. I first focused on studying the vertical proportions of the letters and the changes in stroke thickness, because compared to regular proportioned fonts, the elongated shapes require more careful balance and legibility. Adjusting the serifs and ending strokes is also crucial, as it is necessary to convey an elegant feel in the fine strokes while ensuring clarity and legibility even at smaller font sizes.
Week 11
Next, I began to create lowercase letters, symbols and numbers, trying to maintain the same slender proportions and design language as the uppercase letters. Special attention needs to be paid to the height of the x-height and the balance of line thickness in the lowercase part to ensure clarity and smoothness during reading. The design of symbols and punctuation focuses on simplicity and coordination, avoiding overly complex designs that may cause visual noise. The part of numbers also adopts a slender and elongated style, but I made appropriate adjustments to the proportions, so that they can be easily readable and have a consistent elegant appearance in tables or paragraphs.
Week 12
This week, I used FontLab to officially export the designed letters, symbols and numbers as font files. At this stage, I mainly focused on checking the smoothness of the strokes, the alignment of the characters and the overall consistency. The process of exporting also allowed me to re-examine the character spacing and proportions, ensuring that the slender and elegant features are maintained in different font sizes and layout environments, while maintaining good readability.
And I began to prepare five font demonstrations and five design drafts for font applications. In the demonstration part, I focused on showcasing the structural features, proportion details, and overall aesthetic appeal of the fonts, ensuring that their slender and elegant style could be clearly expressed. The application design took into account different usage scenarios, such as title layout, brand visuals, interface labels, etc., with the aim of demonstrating the font's readability and unique character in real-world environments, helping the audience understand its diverse potential and design value.
Final Submission
Task 3 - Type Exploration & Application:
Font Presentation
Week 9
- General feedback: The teacher reminded us to plan the layout and content of the blog as a whole, and ensure that the presentation is organized and well designed.
- Specific feedback: Vinod said my idea was good, but suggested that I do more research on the script part.
Week 10
- General feedback: When designing lowercase letters, you need to ensure that they are aligned with the uppercase letters; when making symbols and punctuation, you should refer to existing fonts to determine the size ratio instead of drawing them randomly.
- Specific feedback: The teacher commented that my current batik work is not bad and encouraged me to continue.
Week 11
- General feedback: The teacher explained the content of the Honor competition to us and briefly introduced the next task: importing the font into FontLab.
- Specific feedback: He said that my progress is okay and I can continue to complete the numbers and symbols.
Week 12
- General feedback: The teacher reminded us that the height of the numbers should be slightly lower than the uppercase letters, and suggested that we look at more reference fonts and samples to make symbols and punctuation more accurately.
- Specific feedback: Mr. Vinod asked me to continue as planned.
Week 13
- General Feedback: Mr. Vinod gave more explanations and demonstrated the font presentation. He asked us to simplify the presentation and avoid excessive decoration. The focus was on presenting letters, numbers and symbols in a clear and reasonable layout.
- Specific Feedback: He said that I did a good job and could continue.
- General feedback: Mr.Vinod reviewed all our e-porfolio, ensure is it correct.
- Specific feedback: No Feedback.
This project gave me a valuable opportunity to independently control the direction of my creation. I really enjoyed this freedom, as I could start from scratch to conceive an idea and turn it into the final font that reflects my personal style. Being able to integrate the visual elements I have always been interested in, even though adapting them into a font system was challenging, made me extremely pleased. One of the most difficult parts was completing the final deliverables on time, especially since I underestimated the technical difficulty of the production stage. Balancing this project with other coursework, especially under a tight deadline, meant making difficult choices about which details needed to be refined or omitted. Overall, although the pressure was great, I was still satisfied with the aesthetic style of the final outcome that met my expectations.
Observation
During the development process, I paid more attention to the subtle differences between letter shapes and symbols. I gradually realized that consistency does not always mean strict uniformity; sometimes, minor changes in shape or thickness can enhance readability and individuality. I also noticed that different display environments can affect perception - certain content may work well in a static print layout, but becomes messy in dynamic graphics. Through studying professional title sequences and brand projects, I gained some inspiration and learned how to combine font design with other design elements (such as color schemes, graphic patterns, and dynamic effects) to tell a coherent story.
Discovery
I found that creating custom fonts requires far more iterations than I initially anticipated. Adjusting proportions, optimizing curves, and testing spacing all require patience. I also learned that using font software is not always intuitive, especially when dealing with export, measurement, and glyph organization. Understanding the limitations of the tools and the workflow is just as important as the design itself. Moreover, I realized that even very small design choices - such as the thickness of lines or the alignment of punctuation marks - can have a significant impact on the fineness and professionalism of the final font. This experience emphasizes the importance of careful planning and continuous improvement in font design.
This article is an interview with Phil Baines, a British designer known for his experimental and distinctive approach to design. I found some parts challenging to connect with, especially when he referenced other designers or styles I’m not very familiar with. Still, there were elements that stood out to me. I was especially drawn to the sections about letterpress printing and the value of hand-crafted design methods. It’s interesting how he clearly respects traditional techniques but also embraces contemporary approaches, recognizing the need to evolve with changing generations.
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