Advanced Typography | Task 3 - Type Exploration & Application
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|| Tee Zi Tong, 0366165
|| Advanced Typography
|| Task 3: Type Exploration & Application
INSTRUCTIONS
Next, I adjusted the sizes of each letterform, typed them out to test their appearance, and worked on refining the kerning and tracking to ensure proper spacing and visual harmony throughout the typeface.
Final Outcome
FEEDBACKS
I was absent today, but my friend informed me that Mr. Vinod reminded everyone about the submission of Task 2 along with our e-portfolio. He also reviewed some students’ e-blogs and reiterated the guidelines for the submission.
Specific Feedback: N/A
When building lowercase letters, construct them side by side with the uppercase to maintain accurate sizing and consistency. For punctuation, compare your designs with actual punctuation marks to ensure correct proportions.
Specific Feedback: N/A
Mr. Vinod reviewed our work individually and provided personal feedback to each student.
For the font presentation, keep it simple — the purpose is to showcase the character and style of your font, so avoid overcomplicating the layout or concept.
Specific Feedback:
Design more varied symbols that are commonly found on a keyboard and finalize the number set from 0 to 9, making sure they align stylistically with the font.
For the font presentation, keep it simple and focused. The main purpose is to showcase the unique characteristics of your font, so avoid making the presentation too complex or distracting.
Specific Feedback: N/A
REFELCTIONS
Experiences
The assignment allowed me to learn much about type design as well as to achieve significant experience. Initially, I found myself lost since I did not have a clue as to what to do with my font. I finally thought that it will be more appropriate to start with something that I am not completely new to but still had space to be creative. Having got the comments of Mr. Vinod, I aimed at producing a font that was based on movies posters and fashion, which was new and exciting to venture in. Initially I blocked letterforms with shapes so that I can get to know how letterforms are constructed. At first, I attempted to create the font by using Font Forge, but I became lost in it, so I changed the program to Font Lab 7 which was highly user-friendly. One of the most difficult aspects was the adjustment of the kerning and tracking; this required a lot of fine tuning as well as taught me how much precision needs to be applied when making a typeface appear professional and balanced.
Observations
I realized that all the things that I have learned during exercises so far could be united in this task including learning about the notion of proportion and contrast, as well as being able to polish small details. When I was working on the letters, I also realized the significant role every bit of consistency plays towards the overall design. Minor changes of the thickness of the stroke or of the distance between two letters were evidently noticeable in the field of readability and visual appeal. I also watched the application of the font in various forms such as posters, clothing, and phone cases, etc that portray the character of the font in distinct forms.
Findings
In the course of this project, I learned that aimless research on different styles and inspirations can result in more creative work. The greater I flaunted my shapes and ideas the more I got a clear idea of my own individual designing direction. Another thing I learned is that font is not always about the letters because it is a story and an identity. The course in designing Brave Love provided me with an opportunity to learn the power of languages that typography tries to convey, which can transmit mood and style and especially in the example of fashion and brand Design. I do not feel like I have acquired everything yet, but this experience made me feel more confident concerning my abilities and more conscious about type design possibilities and depth.
FURTHER READINGS
Key notes:
- Bringhurst explains the proportions of typefaces, the harmony of letters, and how to set beautiful, readable pages.
- He explores the historical roots of type, showing how classical principles can still guide modern design.
- There are in-depth discussions on ligatures, small caps, and the subtleties of line spacing and justification.
- The book encourages designers to respect the content and the reader by creating typography that is unobtrusive yet meaningful.
- Bringhurst also emphasizes the ethical responsibility of designers to preserve language, culture, and clarity through typography.
This book is a must-read for anyone who sees typography not just as a skill but as a cultural and artistic expression.- Bringhurst explains the proportions of typefaces, the harmony of letters, and how to set beautiful, readable pages.
- He explores the historical roots of type, showing how classical principles can still guide modern design.
- There are in-depth discussions on ligatures, small caps, and the subtleties of line spacing and justification.
- The book encourages designers to respect the content and the reader by creating typography that is unobtrusive yet meaningful.
- Bringhurst also emphasizes the ethical responsibility of designers to preserve language, culture, and clarity through typography.
I chose to read Grid Systems in Graphic Design to strengthen my understanding of structure and alignment in layout design, which is essential for presenting typography effectively.
Key notes:
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The book explains the logic and use of grid systems, which bring order and coherence to typographic layouts.
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Müller-Brockmann discusses both symmetrical and asymmetrical grids and how to use them effectively for books, posters, and branding.
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Numerous visual examples illustrate how grids help maintain consistency while allowing creative freedom.
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It emphasizes clarity, functionality, and hierarchy as the foundations of good design.
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The book also teaches how grids can adapt to different formats, scales, and purposes.
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Beyond just a technical guide, it also introduces a mindset of discipline and precision in design work.
This book is ideal for designers who want to develop more structured and professional typographic compositions.
I read Designing Type to gain practical knowledge about designing individual letterforms and creating cohesive typefaces.
Key notes:
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The book provides a comprehensive guide to the anatomy of each letter and how to design them consistently.
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Each chapter focuses on a specific group of letters (capitals, lowercase, numerals, punctuation) with detailed illustrations.
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It analyzes how proportions, stroke thickness, and terminals affect the style and legibility of a typeface.
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The book highlights common mistakes when designing type and offers solutions to improve visual balance.
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It also includes case studies of professional typefaces to demonstrate different approaches and styles.
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The advice is highly practical, making it an excellent resource for students or anyone developing their first typeface.
This book bridges the gap between theory and practice, helping readers understand not just what makes a typeface work, but how to create one themselves.
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