Typography - Task 3: Type Design and Communication

 14/11/2025 - 26/12/2025 (Week 8 - Week 14)

Aurellia Franseska Djauhari - 0365053

Typography

Task 3: Type Design and Communication

Table of Content:

1. Lecture

2. Instructions

3. Process Work

4. Feedback

5. Reflection

6. Further Reading

1. Lecture

Lecture 7: Typo_6_Screen&Print

In this lecture, I gained a deeper understanding of how typography functions across different mediums, especially print and screen. The lecturer explained that although screen-based communication has become dominant due to technology, print is still important because of its tactile qualities and its role in learning and development. Despite the rise of digital media, printed materials continue to offer value, especially for long-form reading.

I learned that typography today exists across multiple platforms, from print, screens, websites, apps, animations, film credits, environmental design, and even new media. Because of this, designers must understand how typography behaves in both static and motion-based contexts. Typography is no longer limited to paper; it now adapts to fluctuating factors like operating systems, devices, resolution, and browsers.

The lecture also covered the differences between print typefaces and screen typefaces. Print fonts like Garamond, Baskerville, and Caslon are valued for their readability in small sizes and their classic, elegant feel. Meanwhile, screen fonts such as Verdana, Georgia, and Tahoma are specifically designed with characteristics like larger x-heights, wider letterforms, and reduced contrast to improve readability on digital devices. I also learned that screen typography must consider inconsistent pixel densities across different devices.

Another key topic was the importance of spacing and font size on screens. The lecturer highlighted how screen reading distance affects font-size choices, and how spacing often needs to be more open to maintain legibility. The lecture introduced hyperlinks as a fundamental part of digital typography, explaining how they function and how they visually guide users through online content.

Finally, the lecturer emphasized that good typography is essential in all design fields. Regardless of medium—print, web, motion graphics, or apps—typography remains a core skill every designer must master. A great designer doesn’t just treat text as content but also as part of the user interface, shaping communication and user experience.

Fig 1.1 Typo_6_Screen&Print lecture

2. Instructions

3. Process Work

Task 3 Exercise 1

Before beginning the font creation process, Mr. Max introduced Task 3 Exercise 1, which focuses on dissecting a word. We learned about the structural anatomy of different letters, explored various styles of uppercase and lowercase fonts, and became familiar with the terminology used to describe letter components. During the lecture, Mr. Max guided us through the steps of dissecting and analyzing letterforms, designing our own fonts, and eventually using those custom-made fonts to create a poster.

Fig 1.2 Dissecting Letterform

Font: Futura Std Medium

Font size: 570.57 pt

After completing exercise 1, I started developing my own typeface. To guide my design process, I looked for references on Pinterest. Here are some design that inspired my own typeface.

Fig 1.3 Reference for the design

Mr. Max instructed us to create three design sketches using the letters O, L, N, C, and G. He suggested experimenting with both uppercase and lowercase forms to determine which direction worked best. With that in mind, I began sketching, and these were the designs I produced.

Fig 1.4 First Sketches

Mr. Max mentioned that while my overall concept was interesting, it still lacked uniqueness. He encouraged me to explore more variations and find ways to make the elements more visually appealing. For the first design, he noted that the star shape was quite common and that although the size of the “O” worked well, the “C” and “G” appeared unexpectedly smaller, making the elements feel inconsistent and not distinctive enough.

He shared similar concerns about the second design. For the third one, he felt the yin-yang concept only worked effectively for the letter “O,” but once applied to other shapes, it lost its appeal. As for the fourth design, he commented that it resembled a simple slash on a basic font skeleton and didn’t offer anything particularly unique.

I asked Mr. Max how I could improve my designs, and he explained that, for example, in the first sketch with the star, I could enhance it by modifying the basic skeleton of the letters to make them more unique. He also showed me a few examples for reference. After that, I continued refining and developing my first design based on his suggestions.

Fig 1.5 Finalize Sketch Design

After Mr. Max approved my sketch, I proceeded to digitize the design in Adobe Illustrator, and here are the results.

Fig 1.6 Adobe Illustrator Digitization JPEG Version

After completing the digitization of my design in Adobe Illustrator, I imported the refined artwork into FontLab to continue the development process. This allowed me to begin adjusting the letterforms, refining curves, and preparing the design for proper font construction and spacing.

Fig 1.7 Screen Grab of FontLab process (side-bearing)

After finalizing my design in FontLab, I exported and installed the completed font so I could use it in my projects. I then imported the font into Adobe Illustrator and created a simple poster to showcase and test how the typeface performs in a real design context.

Fig 1.8 A4 black & white poster JPEG Version

Link to download my font:

https://drive.google.com/file/d/1zizsG07Dm8v0249uuUgScwRRBzpoYfcZ/view?usp=sharing

4. Feedback

Week 8:
General Feedback: Mr. Max briefed us on the requirements for Task 3 and demonstrated how to use graph paper or Procreate for sketching. He emphasized the importance of utilizing the boxes on graph paper to create well-proportioned and balanced fonts.

Week 9:
General Feedback: This week, Mr. Max taught us the dissection technique. We are required to complete the dissection exercise by next Thursday and submit it to our ePortfolio.
Specific Feedback: I presented four sketches. Mr. Max commented that while my design concept is interesting, it lacks uniqueness. He suggested exploring more variations and enhancing the appeal of the elements. For example:

• The first sketch, with a star shape, is fairly common. The sizing of the “O” works, but the “C” and “G” appear smaller, and the elements are not distinctive enough.
• The second sketch has similar issues with uniqueness.
• The third sketch, incorporating the yin-yang element, works well in the “O” but does not translate effectively to other shapes.
• The fourth sketch feels like a simple slash on the font’s skeleton and lacks originality.

Week 10:
General Feedback: Mr. Max demonstrated how to digitize letters in Adobe Illustrator and scheduled consultation times for further guidance.
Specific Feedback: I refined the first sketch with the star, which Mr. Max approved, and then began digitizing the design in Illustrator.

Week 11:
General Feedback: In class, we focused on importing our designs into FontLab.
Specific Feedback: Everything is good, no changes are needed.

5. Reflection

Working through this project from sketching the initial ideas to digitizing the final typeface has been a meaningful learning experience. Each stage taught me something new about the design process and how much attention to detail is required when creating a font. Getting feedback from Mr. Max helped me understand how small adjustments, such as refining the structure of each character, can greatly improve the overall consistency and uniqueness of a typeface.

Moving into Adobe Illustrator and later FontLab pushed me to be more precise, especially when adjusting curves, spacing, and alignment. Digitizing the letters also made me more aware of how every decision affects readability and visual harmony. Once the font was complete, using it to design a simple poster allowed me to see the typeface in action and evaluate its strengths and areas for improvement.

Overall, this project helped me grow not only in technical skills but also in creative decision-making. I learned the value of iteration, feedback, and testing, and I now have a deeper appreciation for the craft of typography.

6. Further Reading

Fig 1.9 A Type Primer 2nd Ed by John Kane 1

Fig 1.10 Page 63 from book of A Type Primer 2nd Ed

Looking at this page from A Type Primer, I realize why I’m drawn to these words. I like how they explain the letter “A” with such clarity, breaking down something I usually see without thinking into precise, understandable details. Words like “meticulous care” and “internally harmonious” make me appreciate the thought and craftsmanship behind each stroke, and I love how the text balances technical terms with expressive language. 

It’s not just about symmetry or weight; it’s about the unique arc of each serif, the subtle differences that make one letterform feel alive. Reading this makes me feel like I’m discovering the hidden beauty in something ordinary, and I’m drawn to the way it celebrates both function and artistry. These words make me more aware of how every detail in design matters, and they inspire me to look closer and appreciate the thoughtfulness behind even the simplest shapes.