Advanced Typography : Task 3

24/06/25 - 22/07/25 (Week 9- Week 14)

Katherine Alexandra Sutanto / 0373585
Advanced Typography / Creative Media / School of Design
Task 3 / Typographic Systems & Type & Play 

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TABLE OF CONTENTS

1. Lectures

2. Instructions

3. Task

4. Feedback

5. Reflection

6. Further Reading

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LECTURES

Refer to Task 1, 2

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INSTRUCTIONS

 

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TASK

Task 3 — Typographic Systems & Type & Play (30%)

Duration: Weeks 08 to 12 (Deadline: Week 13)

Requirements:

• Complete alphabet (A-Z), numerals, and punctuation marks

• Link to your .ttf font file

• Five font showcase images (1024 x 1024 px, 300 ppi)

• Five examples demonstrating font usage (1024 x 1024 px, 300 ppi)

Project Proposal

For Task 3, we were asked to develop a typeface following one of three possible approaches:

Fig 3.1 Font Presentation, Week 8

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Researches

Before going any further, I'd research for references as the first step. Specifically towards the theme I'm looking for. Batik Mega Bandung: 

Fig 3.2 References, Week 8

Batik is known to have variations of textiles within the culture that represent different meanings. The Batik pattern i chose is named as Mega Bandung. The design depicts the blue sky with patterns of swirly clouds. The color comes with dark and light shades of blue.

 

Fig 3.3 Baitk Mega Bandung, Week 8

Sketch

After initial research, I created rough sketches outlining the structure of my uppercase letterforms.

Fig 3.4 Rough Sketches, Week 8

After presenting on Week 9, I was suggested to pick the Batik typeface idea as I have attempted a digital sketch by ibispaintx. 

Fig 3.5 1st attempt using IbispaintX , Week 8

Digitalization Process

Preliminary Digitization
I transferred my sketches into Adobe Illustrator and began digitizing. I first established a fixed rectangular framework and used the pen tool and pathfinder to craft counter shapes.

Fig 3.6 Overall Digitalization process, Week 9

Font Shape & Design
For the font shape itself, I'm looking for a simple yet dull box-shaped to accompany the graphical element to make it fit without looking messy just like the references I'd researched beforehand.

Fig 3.7 Font shape breakdown, Week 9

Digging into the graphic elements within the design
Since Batik Mega Bandung being the main theme for my font, I'd take an existing reference from Google, and draw my own version digitally by IbispaintX, then trace it with Pen Tool and pathfinder in Adobe Illustrator.

Fig 3.8 Graphical element within the design, Week 9

After tracing, I'd extract a part of the design to be included into the typeface's design. Which i mostly include in the chosen letters such as I, J, A, E, F, etc.

Fig 3.9 Extracted graphic for typeface design, Week 9

Here is my first digital draft of the uppercase letters.

Fig 3.10 First draft of uppercase letters, Week 9

After receiving feedback from Mr. Vinod, he suggests me to do an inverted color version thus creating a full font instead of outline font.

Fig 3.11 Reviewed Font, Week 9

(UNUSED) At first, my first intention is to make this font to have unicase instead of having both uppercase and lowercase. However, I still attempted to make the lowercase version, which i find not fit for the whole aesthetic. 

Fig 3.12 Lowercase typeface attempt, Week 10

Numerals & symbols
Similarly to my process in the font shaping process, I'd use pen tool and pathfinder to digitalize the numerals and symbols.

Fig 3.13 Typeface Shaping, Week 11

I've made around 60 symbols during the process, which i only chose a plenty for the font presentation. The symbols drafts are as the following below:

Fig 3.13 Symbols First Drafts, Week 11

Here's the first draft of the numerals:

Fig 3.14 Numerals First Drafts, Week 11

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FONT FORGE

To build the font file, I used FontForge:

 

Fig 3.16 Overall Importing Sequence

Importing Fonts
After completing the fonts on Adobe Illustrator, I'd export each words, numerals, and symbols into SVG files.

Fig 3.15 Exporting sequence

After exporting files into SVG, I'd import each files into font forge. 

Fig 3.16 Importing to Font Forge

Kerning
Kerning values were set based on Mr. Vinod’s reference table to ensure balanced spacing between characters.

Fig 3.17 Font spacing reference

However, FontForge has more of a different feature compared to FontLab which was the software I'm more familiar with. So, i discovered an existing feature of kearning within FontForge. 

I'd access element --> Font Info --> GPOS --> Add lookups:

Fig 3.18 Accessing the Kerning Feature

I'd select the desired letters/numerals/symbols beforehand and start the default kerning process by the process below: Pair Position --> Kern horizontal Kerning --> Add Subtable --> Default Separation to 0, Minimal Kern 0 --> Tick Touching --> Size 150

After completing the process, I'd manually adjust it when there's slight error in the default spacing.

Fig 3.19 Kerning Process

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FONT PRESENTATION & APPLICATION

After the Font design and importing is completed, I'd proceed to the next step of the assignment, Font presentation and application, which we are assigned to find 5 each.

Process
I'd use the previous traced clouds graphics as the supporting presentation of the Font presentation. For the color palette, I'd go pretty minimal with it which was just dark marine blue, pastel/gold yellow and white. 

Fig 3.20 Graphics for the presentation

My first approach on the design is to go classy and traditional since the font is representing an existing culture from my hometown, Indonesia. So, I'd draw digitally of these motives on Ibispaint X, and trace it off in Adobe illustrator and add a gradient color of yellow and white.

Fig 3.21 Graphic Decoration

The first draft of the font presentation is as following:

Fig 3.22 First Draft of Font Presentation

After being reviewed by Mr. Vinod. He suggested a broader color palette as my presentation is lacking of variants. The reviewed version is as followed: 

Fig 3.23 Reviewed Draft of Font Presentation

I added light blue and red based on this specific reference of a wider palette within:

Fig 3.24 Inspiration of add-ons in color palette

Font Application

First, I'd access FreePik to find a different mockups and apply my font into the mockups.

Fig 3.25 First draft of Front Application

However, after being reviewed by Mr.Vinod regarding the color palette, I also go ahead to switch the second mockup (tote bags) into a poster mockup with the improved graphics.

Fig 3.26 Reviewed Draft of Front Application

Font Application - Honor Competition

For the final 3 font application, we are assigned to design and submit for an existing online competition.
Requirements:

-Clock design

-Personalized Signature Design 

-Overall Visual design 

-Animation Design 

During the process of font application, I've made the first draft of the clock design at the same time of the process. However, after being reviewed, I've decided to change the colour scheme and improve the graphic into a broader tone.

Fig 3.27 First Draft of Clock Design

The improved version is as follows (background):
I'd add more maroon red and lighter blue in the new color scheme, and instead of keeping the original graphic in the background, I'd changed it into outlines and soften it.

Fig 3.28 Improved background

After improving the background, I'd apply the same number digit graphic and add the date and the battery graphic and percentage.

Fig 3.29 Improved Clock Design

Similarly to the clock design, I'd add the font design of the word "ANTIQUE" which is the name of my font as the presentation of my personalized design.

Fig 3.30 Personalized Design

Clock Animation - Honor Competition

Editing Sequence:
At the end of the step of the assignment, we're assigned to animate the clock design which i did through Adobe After Effects.

Fig 3.31 Editing Sequence

For the results, I made 2 versions where the first one is more into simple and minimalistic approach while the second one comes with a fade transition

Fig 3.32 1st version

Fig 3.33 2nd version

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FINAL OUTCOME

Fig 3.34 Font Compilation, Open Type, Week 13

Fig 3.35 Font Compilation, PDF, Week 13

Fig 3.36 Font Presentation Compilation, PDF, Week 13

Fig 3.37 Unicase, Week 13

Fig 3.38 Numerals, Week 13

Fig 3.39 Symbols, Week 13

Fig 3.40 Font Presentation 1, JPEG, Week 13

Fig 3.41 Font Presentation 2, JPEG, Week 13

Fig 3.42 Font Presentation 3, JPEG, Week 13

Fig 3.43 Font Presentation 4, JPEG, Week 13

Fig 3.44 Font Presentation 5, JPEG, Week 13

Fig 3.45 Font Application 1, JPEG, Week 13

Fig 3.46 Font Application 2, JPEG, Week 13

Fig 3.47 Clock Design, JPEG, Week 13

Fig 3.48 Personalized Design, JPEG, Week 13

Fig 3.49 Overall Design, JPEG, Week 13

Fig 3.50 Clock Animation, JPEG, Week 13

Fig 3.51 Font Presentation, PDF, Week 13

 

Fig 3.52 Honor Competiiton, PDF, Week 13

Fig 3.53 Honor Competiiton Submission, PDF, Week 13

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FEEDBACKS

Week 9
General Feedback: Sir Vinod conduct an usual feedback session for Task 2 submission and Task 3 proposal

Specific feedback: I'd consult with Mr.Vinod regarding 3 choices of design in my proposal, he commented that a design should generally be categorized specifically 

Week 10
General Feedback: Sir Vinod conduct a feedback session regarding our uppercase design of the chosen typeface.

Specific feedback: He approved of my design, however I'm lacking in showing the process in the Ai file which is high suggested by Sir Vinod.

Week 11
General Feedback: Sir Vinod conduct a feedback session regarding our lowercase design of the chosen typeface.

Specific feedback: He commented the part where i don't have to imply the design on every word as it'll clashes while spacing.

Week 12
General Feedback: Sir Vinod is giving us more time in making the next step of the task.

Specific feedback: Mr Vinod suggests to take existing elements from the font to decorate the font application.

Week 13
General: Sir Vinod opens a feedback session as usual regarding our Task 3.

Specific: Sir Vinod suggested for my colour palette to be broader.

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REFLECTION

Experience
During Weeks 9 to 13, I focused more on improving the small details of my typeface. I spent a lot of time fixing spacing between letters and checking how the letters worked together in words. It was sometimes tiring, but I enjoyed seeing my font slowly improve. One of the best moments was trying out the font in a real layout — it made the whole process feel more meaningful.

Observation
As we shared our progress in class, I noticed how some typefaces looked much better when used in real design examples like posters or packaging. It showed me that fonts are not just about how they look alone, but also how they work with images, colors, and space. I also saw how important feedback is — small suggestions from others helped me see things I didn’t notice before.

Findings
I learned that designing a font isn’t just about drawing nice letters. It’s about making sure the font can actually be used. Testing the font in different designs helped me understand its strengths and weaknesses. I also realized that asking for feedback and trying out different ideas can really improve the final result.

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FURTHER READING

Fig 6.1 The Vignelli Canon Book (Week 8)

As designers, it’s important to find the best solutions by looking at every part of the problem. When creating a logo, we should respect its history and understand the values it stands for. Using differences in size on a page or contrasting fonts like mixing bold and light type can make a design more visually interesting and dynamic. This technique has been used successfully in graphic design for a long time.

Strong visuals are key to good design. To communicate a message clearly, a design needs the right concept, shapes, colors, or textures. Contrast is especially important because without it, a design can feel flat and lifeless. Good contrast helps grab attention and gives the design energy.

In simple terms, great design balances respect for tradition with fresh ideas, uses contrast to create excitement, and always keeps the message clear. This approach, as Massimo Vignelli highlights, helps create timeless and effective designs that really connect with people.