13/05/2025 - 14/07/2025 (Week 8 – Week 13)
Gabriella Grace Christyanti / 0371915
Typography / Creative Media /
School of design
Task 3 / Type Exploration & Application
1. Lectures
2. Instructions
3. Task 3 - Type Exploration / Application
3.1 Font Design Proposal
3.2 Digitization
3.3 FontLab 8
3.4 Font Presentation and Font Application
3.5 Final Outcome
4. Feedback
5. Reflection
6. Further Reading
1. LECTURES
Refer to Task 1: Exercises & Task 2: Key Artwork & Collateral post.
2. INSTRUCTIONS
3.1 Font Design Proposal
We were given three possible directions to choose from:
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Design a New Font
Create a font that addresses a broader issue or contributes to a solution within a chosen area of interest, such as graphic design, animation, media, or entertainment. -
Improve an Existing Font
Study and analyze an existing letterform, identify its weaknesses, and redesign it with improvements. The updated font should demonstrate functional or aesthetic enhancements and be shown in application. -
Experimental Typography
Develop a novel and creative typographic experiment. This may involve unconventional materials or mediums—such as 3D, projection, food, or music video—resulting in a unique visual or sensory typographic outcome.
After presenting the ideas, I decided to go with my first proposal idea and continue with the expansion of my typeface
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| Fig 1.2 First Proposal Idea (Week 9, 17/06/2025) |
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| Fig 1.3 Visual Reference (Week 9, 17/06/2025) |
3.2 Digitization
UPPERCASE & LOWERCASE LETTERS
I started with just expanding my original typeface. This involved expanding on the existing uppercase characters and creating all of the lowercase characters, both based on the guides I'd developed in Semester 1. In this version, I made sure all of the characters I've designed had a curved corner to give it a cleaner and modern aesthetic. I was already really proud with how the first attempt looked.
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| Fig 1.4 First attempt (Week 9, 17/06/2025) |
I also experimented with the shaping of individual letters to find my preferred aesthetic. This involved creating multiple iterations: four versions each for 'B' and 'S', three for 'R', and two each for 'K' and 'D'.
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| Fig 1.5 Typeface exploration (Week 9, 17/06/2025) |
Mr. Vinod then provided feedback to redo the entire typeface with sharp edges instead of the curved ones I had already made. Unfortunately, I had already united all the basic rounded-edge rectangles using the Pathfinder tool, which meant I couldn't use the Live Corner widgets to adjust the curves. This meant I needed to redo the whole thing from zero. So, after a small minor tiny breakdown, I started redoing my typeface. The sharp edges meant I needed to do a complete revision of my guides. I established the new guidelines using the 'A' and 'O' characters as my foundation, 'A' has the references for the top and middle parts of the letters, while 'O' defined the top and bottom. All subsequent uppercase letters were then meticulously crafted to adhere to these new guides.
When designing the lowercase characters, I maintained the ascender height to match that of the uppercase letters. For the x-height, I aligned it with the diameter of the circle in the uppercase 'P'.
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| Fig 1.6 Second attempt (Week 10, 24/06/25) |
After that, I moved on to the punctuation and numbers. For the numbers, I matched their height to the capital letters (caps height) and constructed their shapes using elements from existing characters. For example, I based the "1" on the lowercase "j," and the "3" was derived from the letter "B."
Similarly, for the punctuation marks, I reused parts of existing characters. The top part of the question mark, for instance, was inspired by the "2," and the parentheses were based on the letter "O." As for the dot and comma, I followed the explanation Mr. Vinod gave on Instagram and in Teams.
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| Fig 1.7 punctuation and numbers (Week 11, 01/07/25) |
I decided to use vertical ruler guides to compare the width of each stroke and letter. Fortunately, all the characters already have a consistent width.
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| Fig 1.8 Typeface guides (Week 11, 01/07/25) |
FINAL FONT DESIGN
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| Fig 1.9 Final Font (Week 11, 01/07/25) |
Outline view for more detailed structure overview:
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| Fig 1.10 Final Outline View (Week 11, 01/07/25) |
3.3 FontLab 8
IMPORTING
Once the digitization was complete and approved, I began importing the characters into FontLab 8 using my friend’s laptop, as the free trial on my own device had expired. After importing all the letterforms, I adjusted their sizing and placement to match the established cap height. I also added temporary kerning, which I plan to refine later after all the letterforms have been properly adjusted.
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| Fig 2.1 Size/Placement Modification (Week 11, 02/07/2025) |
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| Fig 2.2 X-height (Week 11, 02/07/2025) |
KERNING
Mr. Vinod provided us with a side bearing guide on Microsoft Teams, which I used as a reference while polishing the kerning for my typeface. Following the instructions, I was able to create clean and consistent kerning for the letters. Unfortunately, there was no specific kerning guide for punctuation and numbers, so I referred to the existing guide and matched similar shapes to guide one another. For example, using “S” as a reference for “5” and “B” for “8.”
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| Fig 2.3 Uppercase Side bearing guide (Week 11, 02/07/2025) |
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| Fig 2.5 Uppercase & Lowercase Kerning (Week 11, 02/07/2025) |
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| Fig 2.6 Numerals & Punctuation Kerning (Week 11, 02/07/2025) |
After I finished with all of the kerning, I exported the font and sent it to my laptop so I can download and use the font for my Font Application and Font Presentation
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| Fig 2.6 Install Font (Week 11, 02/07/2025) |
3.4 Font Presentation and Font Application
FONT PRESENTATION
Before starting the font presentation design, I explored Adobe Color to search for “futuristic” color palettes. I experimented with different combinations and selected ones that complemented the aesthetic of my font, which has a cryptocurrency-inspired style. I wanted the colors to match the futuristic, digital vibe associated with crypto. After testing how well the colors worked together, I finalized a set of three that best captured the look and feel I was aiming for.
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| Fig 3.1 Color Palette Exploration(Week 11, 04/07/2025) |
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| Fig 3.2 Color Palette (Week 11, 04/07/2025) |
I drew inspiration from senior projects and font presentation examples on Envato, which also helped me gather ideas for how to apply my font. Since I had many concepts in mind, I ended up with 10 different presentation ideas. When I showed them to Mr. Vinod, he didn’t give specific feedback on which one to use, so I turned to my friends for their opinions. Based on their input, I selected the top 5 ideas to include in my final font presentation.
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| Fig 3.3 Draft layouts (Week 11, 04/07/2025) |
FINAL FONT PRESENTATION
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| Fig 3.4 Font presentation 1 (Week 12, 08/07/25) |
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| Fig 3.5 Font presentation 2 (Week 12, 08/07/25) |
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| Fig 3.6 Font presentation 3 (Week 12, 08/07/25) |
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| Fig 3.7 Font presentation 4 (Week 12, 08/07/25) |
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| Fig 3.8 Font presentation 5 (Week 12, 08/07/25) |
FONT APPLICATION
For the font application, I searched up for inspiration for other creative uses for crypto currency fonts and these were the ones that I've found most interesting for my font.
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| Fig 3.9 Font application ideas (Week 12, 08/07/25) |
I decided to go with the credit card and billboard concepts for my final presentation, but I also liked the idea of a crypto coin launch. To incorporate that, I combined it with the billboard concept to create a more cohesive and relevant design. During the mock-up creation process, I frequently switched between Adobe Illustrator and Photoshop, as each software offered specific tools and functions that the other lacked. This back-and-forth workflow helped me achieve the final look I was aiming for.
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| Fig 3.10 Adobe Illustrator Progress (Week 12, 08/07/25) |
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| Fig 3.11 Photoshop Progress (Week 12, 08/07/25) |
The inspiration I got for the billboard and the credit card are both gotten from my research in envato where artists showcase their font presentation.
FONT APPLICATION - HONOR COMPETITION
1. Clock design
2. Personalized Signature Design
3. Overall Visual design
4. Animation Design
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| Fig 3.12 Clock Design (Week 12, 08/07/25) |
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| Fig 3.13 Personalized Signature Design (Week 12, 08/07/25) |
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| Fig 3.14 Overall Visual Design (Week 12, 08/07/25) |
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| Fig 3.15 Clock Animation progress (Week 12, 08/07/25) |
HONOR SUBMISSION
Unfortunately, the category for standby has already passed. So I wasn't able to complete my Honor Talents submission.
FINAL FONT APPLICATION & HONOR COMPETITION
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| Fig 4.1 Font application 1 (Week 12, 08/07/25) |
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| Fig 4.2 Font application 2 (Week 12, 08/07/25) |
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| Fig 4.3 Clock Design (Week 12, 08/07/25) |
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| Fig 4.4 Personalized Signature Design (Week 12, 08/07/25) |
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| Fig 4.5 Overall Visual Design (Week 12, 08/07/25) |
3.5 Final Outcome
Click here to download HEX-Cipher
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| Fig 5.3 Font Uppercase (Week 12, 08/07/25) |
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| Fig 5.4 Font Lowercase (Week 12, 08/07/25) |
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| Fig 5.5 Font Punctuation (Week 12, 08/07/25) |
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| Fig 5.6 Font Number (Week 12, 08/07/25) |
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| Fig 5.7 Font presentation 1 (Week 12, 08/07/25) |
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| Fig 5.8 Font presentation 2 (Week 12, 08/07/25) |
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| Fig 5.9 Font presentation 3 (Week 12, 08/07/25) |
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| Fig 5.10 Font presentation 4 (Week 12, 08/07/25) |
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| Fig 5.11 Font presentation 5 (Week 12, 08/07/25) |
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| Fig 5.12 Font application 1 (Week 12, 08/07/25) |
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| Fig 5.13 Font application 2 (Week 12, 08/07/25) |
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| Fig 5.14 Clock Design (Week 12, 08/07/25) |
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| Fig 5.15 Personalized Signature Design (Week 12, 08/07/25) |
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Fig 5.16 Overall Visual Design (Week 12, 08/07/25) |
4. FEEDBACK
Week 9:
General Feedback: Mr.Vinod went through table to table to check everyone's
proposals
Specific Feedback: Mr. Vinod thought my shadow typography idea is interesting and
told me to attempt a smaller scale version first. While the first
idea he also think that it's interesting but he suggested I need
to also attempt to do the lowercase letters first before I dismiss
it. And he also said that I need to also figure out the
application phase: when you decide what it could be used for, you
can show how it's going to be used
Week 10:
General Feedback: We refine our upper case Typography with Mr.Vinod providing
feedback from table to table
Specific Feedback: Mr.Vinod commented on my font and he liked the version with the
hard edges better than the rounded one
Week 11:
General Feedback: Mr.Vinod went from table to table to give each of us specific
feedback
Specific Feedback: Mr.Vinod told me that it's okay to give my font some flexibility
to make it work. And also he commented ont he width of my
punctuations
Week 12:
General Feedback: Finishing our font presentation and application
Specific Feedback: Mr.Vinod told me to continue on my presentation and application,
he also warned me that my color might come out different when
exported.
5. REFLECTIONS
Experience
From Weeks 9 to 13, the process felt fast-paced with many tasks, from designing the typeface to preparing presentations and applications. It was challenging but rewarding, requiring accuracy and consistency that took time to achieve. I found this to be the most interesting and fun task despite some hurdles, such as importing fonts into FontLab 8 and adjusting side bearings. Learning that software was difficult initially but enjoyable. This final project also involved a lot of exploration, especially for ideas that comes when expanding the typeface, which made idea development and visualizing concepts take longer. Overall, creating the entire font design and presentation on my own gave me valuable new skills and experiences.
Observation
Throughout the project and class, I observed many different font styles from my peers and realized that maintaining consistency in key letter characteristics is essential for the font to feel like a family. I also learned that fonts need to be easy to read and that presentations should be simple to properly showcase the typeface without distractions. I saw how grids and reference fonts aid consistency, and I recognized that design is not just about final results but about the careful process leading up to them.
Findings
This project taught me not to underestimate simple-looking fonts, as accuracy and consistency are key to good type design. Understanding the purpose and theme of the font guides the design process, presentation, and application. Consistency is critical, and paying attention to small details improves overall quality. Importantly, I learned that well-designed typefaces are built on thorough research, clear concepts, and purpose-driven decisions. Finally, I realized that type design balances expression with usability, acting as a bridge between the complex digital currency world and contemporary design needs.
6. FURTHER READING
Typographic Grids: Learned about various grid layouts from the "Typographic Grid" chapter, which I applied in my layouts for Exercise 2 to improve organization and structure.
Typographic Evolution: Explored the history of typography, from early hand-carved symbols to Gutenberg's movable type and the digital fonts of today. Gained insight into the significance of serif and sans-serif styles across cultures and eras.
Justified vs. Unjustified Text: Discovered that left-aligned (unjustified) text often improves readability, as ragged right edges give natural stopping points and avoid "rivers" of white space that can disrupt flow in justified text.
Anatomy of Typography: Studied font characteristics like weight, width, posture, x-height, ascenders, descenders, and stress. I also learned the origins of common measurement terms like "Em" and "En."
The Typographic Message: Learned how typography acts as a powerful visual language capable of informing, persuading, and creating emotional impact. Designers, particularly those in activist movements, have used typography to highlight societal issues.
Practical Guidance: Pages on readability, legibility, and paragraph alignment offered useful tips for my projects, making the book both a historical and practical resource
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