ADVANCED TYPOGRAPHY - Task 3: Type Exploration and Application

2025-2025(week - week)

FANN WONG JING EN｜0382237

Design Principles | Bachelor of Design (Honours) in Creative Media

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TABLE OF CONTENT

                  MIB        Task       Feedback       Reflection       Further Reading            

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MODULE INFORMATION BRIEF (MIB)

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TASK

TASK 3:Type Exploration & Application Proposal by Fann Wong

    I chose Font Idea 1 because it allowed more freedom in form and expression compared to the other concepts. The organic and fluid approach gave me more space to explore movement, irregularity, and personality in the letterforms. During the process, this idea felt more intuitive and flexible, making it easier to develop connections between letters and build a consistent system. I also felt that this direction better reflected my interest in expressive and experimental typography, which is why I decided to continue developing this idea into the final typeface.

- Process Work -

Sketching the Letterforms

I began by sketching loose letterforms and experimenting with different stroke shapes and outlines. At this stage, the focus was on exploring how fluid movement could be translated into letter shapes, without worrying too much about consistency or refinement.

fig1.1 sketching 

As the exploration progressed, I started building connections between letters by reusing similar structures. Certain letterforms were developed from the same base shapes to create visual consistency across the alphabet. This helped the typeface feel more unified while still keeping its organic and irregular qualities.

fig1.2 similar structures

After finalising the sketches, I refined the letterforms using a grid system. This step helped me control proportions, alignment, and stroke consistency across all characters. Using the grid allowed the typeface to remain expressive while becoming more structured.

fig1.3 attempt uppercase

fig1.4 attempt lowercase

fig1.5 number design

Digitalizing the Typeface

After refining the letterforms on the grid, all designs were transferred into FontLab. This step marked the transition from hand-drawn exploration to a functional digital typeface, allowing further refinement and consistency checks.

fig 1.6 all design move into fontlab

Kerning and spacing were adjusted to improve readability and overall text rhythm. This stage involved testing different letter combinations and making small adjustments to achieve a more balanced and even visual flow.

fig1.8 kerning in fontlab

Font Presentation

After completing the basic structure of the typeface, I began exploring different ways of presenting the font visually. Instead of showing the letters in a standard layout, I experimented with expressive compositions that emphasised the character and mood of the type.

Through overlapping, rotation, and scale variation, I aimed to transform the letterforms into visual elements rather than just readable text. This stage allowed me to explore how typography can function as both language and image.

fig 1.9 process font presentation 

In this final presentation, I experimented with overlapping and layering the letterforms to create a sense of movement and tension. The focus here is on visual impact rather than readability, showing the expressive and sculptural quality of the typeface.

fig 2.0 font presentation 1

This layout explores the typeface as a repeating pattern, using contrast in scale and color to create focus within the composition.

fig 2.1 font presentation 2

This layout combines typography with a short statement to communicate the concept behind the typeface. The compact vertical arrangement emphasises rhythm and reinforces the idea that type can be felt as well as read.

fig 2.2 font presentation 3

Here, the full character set is presented to review consistency in proportions, stroke weight, and style. This step confirms that the typeface works as a complete system rather than individual letters.

fig 2.3 font presentation 4

This image highlights the structure of a single letterform to show the relationship between curves and straight strokes. It helped clarify the overall design logic of the typeface.

fig 2.4 font presentation 5

Font Application

After completing the typeface, I applied it to a simulated brand context to test its practicality. The font was used across various applications such as packaging, signage, and printed materials. Through these mockups, the type is tested for clarity, adaptability, and aesthetic consistency across different formats and surfaces.

fig 2.5 font application menu design 

fig 2.6 font application takeaway packaging 

fig 2.7 font application exterior signage 

fig 2.8 font application storefront hanging sign 

fig 2.9 font application takeaway packaging 

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SUBMISSION 

fig 3.0 fontlab screenshot

fig 3.1 presentation font 1 (JPEG)

fig 3.2 presentation font 2 (JPEG)

fig 3.3 presentation font 3 (JPEG)

fig 3.4 presentation font 4 (JPEG)

fig 3.5 presentation font 5 (JPEG)

fig 3.6 all presentation font (PDF)

fig 3.7 application font 1 (JPEG)

fig 3.8 application font 2 (JPEG)

fig 3.9 application font 3 (JPEG)

fig 4.0 application font 4 (JPEG)

fig 4.1 application font 5 (JPEG)

fig 4.2 all application font  (PDF)

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FEEDBACK

week12-The final phase concentrates on more definitive implementation of the typeface.

week11-Focus intensifies on meticulous refinement of uppercase letters and numerals. Visual consistency is enhanced through precise adjustments to proportional relationships.

week10 - Complete all letter form exercises before the next lesson, following the instructions provided on the Teams.

week9 - absent

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REFLECTION

Experience

This project was challenging in a way that I did not expect at the beginning. During the early sketching stage, the process felt quite free and intuitive. I focused mainly on exploring organic movement and expressive shapes, without thinking too much about rules or structure. At that point, I assumed that designing a typeface was mostly about visual style.

However, as I moved into refining the letterforms and working with grids, the process became much more demanding. Maintaining consistency across all characters required a lot of patience and repeated adjustments. Transferring the designs into FontLab was especially challenging, as small issues that were not obvious in sketches became very clear in digital form. This stage forced me to slow down and rethink many design decisions.

Observation

Throughout the project, I realised that expressive typography still depends heavily on structure. Even though the typeface was intended to look fluid and organic, it could not function properly without controlled proportions, spacing, and alignment.

Working digitally helped me notice problems that I might have ignored earlier, particularly in spacing and kerning. Some letterforms looked successful on their own but felt unbalanced when placed next to others. When applying the typeface to mockups, I also observed how scale and context affected readability. These observations helped me understand that typography needs to work as a system, not just as individual forms.

Finding

This project taught me that type design is a balance between expression and function. A typeface can be visually interesting, but without careful refinement, it will not work effectively in real applications.

More importantly, this project changed how I approach typography. I now pay more attention to spacing, consistency, and how type behaves in different contexts. Instead of focusing only on the final outcome, I have learned to value the process behind each design decision. This experience has given me a clearer understanding of typography as both a creative and technical discipline.

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FURTHER READING

A Type Primer 2nd Edition by John Kane

        A Type Primer (2nd Edition) by John Kane provides a strong foundation for understanding typography as both a technical discipline and a visual language. The book explains key principles such as type anatomy, spacing, hierarchy, and alignment, which are essential in constructing clear and effective typographic systems. Through structured explanations and visual examples, Kane demonstrates how typography functions beyond decoration, becoming an integral part of communication and meaning-making in design.

        In relation to this project, the book helped inform my approach to typographic experimentation and layout decisions. It reinforced the importance of structure and consistency when developing expressive letterforms, ensuring that visual exploration remains legible and purposeful. By understanding how spacing, proportion, and hierarchy affect reading flow, I was able to balance experimental design with functional clarity. This reference also encouraged me to be more intentional in applying typography as a system rather than treating type as isolated visual elements. Overall, A Type Primer served as a valuable guide in shaping both the conceptual direction and execution of my typographic work.