ADVANCED TYPOGRAPHY - Final Compilation & Reflection
2025-2025(week - week)
Design Principles | Bachelor of Design (Honours) in Creative Media
Task link
TABLE OF CONTENT
MODULE INFORMATION BRIEF (MIB)
Task 1: Exercises - Exercise 1: Typographic Systems -
fig 1.0 final axial system (JPEG)
fig 1.1 final modular system (JPEG)
fig 1.2 final transitional system (JPEG)
fig 1.3 final random system (JPEG)
fig 1.4 final radial system (JPEG)
fig 1.5 final grid system (JPEG)
fig 1.6 final dilatation system (JPEG)
fig 1.7 final bilateral system (JPEG)
fig 1.8 final typographic system (PDF)
fig 1.9 final typographic system - grid/baseline (PDF)
- Exercise 2: Type and Play -
fig 2.0 image & extraction
fig 2.1 overall process
fig 2.3 final type & play submission
fig 2.4 final poster (JPEG)
fig 2.5 final poster (PDF)
TASK 2 : Key Artwork and Collateral
- 2A Key Artwork -
fig2.6 Final Key Artwork- White on Black Background
fig2.7 Final Key Artwork- Black on White Background
fig2.8 color palette
fig2.9 Final Key Artwork- Actual Color on Lightest Shade of Color Palette
fig 3.0 Final Key Artwork- Lightest Color on Darkest Shade Background of Color Palette
fig3.1 Final Key Artwork Animation
fig3.2 Final Outcome of Key Artwork-PDF
- 2B Collateral -
fig3.3 Collateral 1
fig3.4 Collateral 2
fig3.8 Collateral 6
fig3.9 Instagram Layout
fig 4.0 Final Outcome Compilation (PDF)
TASK 3 : Type Exploration and Application
fig 4.1 fontlab screenshot
fig 4.2 presentation font 1 (JPEG)
fig 4.3presentation font 2 (JPEG)
fig 4.4 presentation font 3 (JPEG)
fig 4.5 presentation font 4 (JPEG)
fig 4.6 presentation font 5 (JPEG)
fig 4.7 all presentation font (PDF)
fig 4.8 application font 1 (JPEG)
fig 4.9 application font 2 (JPEG)
fig 5.0 application font 3 (JPEG)
fig 5.1 application font 4 (JPEG)
fig 5.2 application font 5 (JPEG)
fig 5.3 all application font (PDF)
REFLECTION
Experience
Across the three tasks, the experience of working with typography gradually shifted from exploration to refinement. In Task 1, learning the eight typographic systems introduced me to the idea that structure and creativity can coexist. Experimenting with different systems helped me understand how layout decisions influence hierarchy, rhythm, and readability. Extracting letterforms from a dying lotus allowed me to explore typography through observation and transformation rather than strict systems.
Task 2 designing FANN felt like developing a character, where each curve and adjustment shaped its personality. The animation stage was especially meaningful, as it was the first time I experienced type as something dynamic and expressive rather than static.
Task 3 was the most technically demanding. While the initial sketching felt free, refining the typeface required patience and precision. Translating the designs into FontLab revealed issues in consistency, spacing, and proportion that were not obvious earlier. This stage pushed me to slow down and make more considered design decisions.
Observation
Throughout all three tasks, I observed that typography always functions as a system, even when it appears expressive or organic. In Task 1, different typographic systems demonstrated how structure directly affects clarity and visual flow. In Task 2, although the forms were inspired by nature, readability still depended on simplification and consistency.
Task 3 further reinforced this understanding. Individual letterforms that looked successful on their own could feel unbalanced when placed together. Digital tools made spacing, kerning, and alignment issues more visible, especially when the typeface was applied at different scales and contexts. I also noticed that animation and spacing could communicate personality, much like tone and pacing in human interaction.
Finding
The most important finding from these projects is that typography exists between expression and function. A visually interesting typeface alone is not enough; it must also work as a coherent and readable system. Structure does not restrict creativity, but instead supports it.
Beyond technical skills, I discovered that strong typographic decisions come from understanding the feeling or intention behind the design. Once that intention is clear, design choices become more focused and meaningful. These tasks have changed the way I approach typography, encouraging me to value process, refinement, and purpose. I now see typography as a discipline that communicates not only information, but emotion and identity through carefully balanced design decisions.
TASK 2 : Key Artwork and Collateral
- 2A Key Artwork -
TASK 3 : Type Exploration and Application
REFLECTION
Experience
Across the three tasks, the experience of working with typography gradually shifted from exploration to refinement. In Task 1, learning the eight typographic systems introduced me to the idea that structure and creativity can coexist. Experimenting with different systems helped me understand how layout decisions influence hierarchy, rhythm, and readability. Extracting letterforms from a dying lotus allowed me to explore typography through observation and transformation rather than strict systems.
Task 2 designing FANN felt like developing a character, where each curve and adjustment shaped its personality. The animation stage was especially meaningful, as it was the first time I experienced type as something dynamic and expressive rather than static.
Task 3 was the most technically demanding. While the initial sketching felt free, refining the typeface required patience and precision. Translating the designs into FontLab revealed issues in consistency, spacing, and proportion that were not obvious earlier. This stage pushed me to slow down and make more considered design decisions.
Observation
Throughout all three tasks, I observed that typography always functions as a system, even when it appears expressive or organic. In Task 1, different typographic systems demonstrated how structure directly affects clarity and visual flow. In Task 2, although the forms were inspired by nature, readability still depended on simplification and consistency.
Task 3 further reinforced this understanding. Individual letterforms that looked successful on their own could feel unbalanced when placed together. Digital tools made spacing, kerning, and alignment issues more visible, especially when the typeface was applied at different scales and contexts. I also noticed that animation and spacing could communicate personality, much like tone and pacing in human interaction.
Finding
The most important finding from these projects is that typography exists between expression and function. A visually interesting typeface alone is not enough; it must also work as a coherent and readable system. Structure does not restrict creativity, but instead supports it.
Beyond technical skills, I discovered that strong typographic decisions come from understanding the feeling or intention behind the design. Once that intention is clear, design choices become more focused and meaningful. These tasks have changed the way I approach typography, encouraging me to value process, refinement, and purpose. I now see typography as a discipline that communicates not only information, but emotion and identity through carefully balanced design decisions.
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