Typography - Task 3: Type Design and Communication

09.06.2025 - 13.07.2025（Week 8 - Week 12)

Lee Xiang Ling / 0384095
Typography / Bachelor of Design (Honours) in Creative Media / Taylors University
Task 3 / Type Design and Communication

LIST / JUMPLINK

Final

LECTURES

Typo_Task 3A Typeface Construction (Shapes)

1. Created an artboard with a height and width of 1000pt in Adobe Illustrator.

2. Draw a 500pt by 500pt square to serve as a reference for measuring the x-height.

3. Selected a typeface that matched the 500pt x-height and used rulers to draw the fundamental guide lines for type design: Ascender Line, Cap Line, Mean/Median Line, Baseline, and Descender Line.

[Ctrl+Y] allows you to switch between Preview Mode and Outline Mode.

Typo_Task 3A Typeface Construction (Strokes+Brush)

Learning how to create and refine typefaces, including the entire process from sketching and digitizing to detailed adjustments.

Typo_Task 3A Illustrator To Fontlab5 Demo

Learning how to import my custom typeface into FontLab for further digitization and refinement.

Typo_Task 3A Illustrator To Fontlab7 Demo

Learning how to download and install FontLab 7, and how to adjust the spacing between letters.

Typo_Task 3A (optional) - Preview & Type Your Font on Blogger...

Learning how to showcase our custom typeface on the Blogger platform, including using basic coding (such as HTML).

INSTRUCTIONS

EXERCISES

We have learned some font-related structures in our previous lectures, but there are still some things I don’t understand, so I think I should search for some information online to help me complete this assignment.

RESEARCH

1. Typography Basic

Fig. 1.1 - Research 1_JPG, Week 07 (4/6/2025)

Fig. 1.2 - Research 2_JPG, Week 07 (4/6/2025)

2. Serif and San Serif

Fig. 1.3 - Research 3_JPG, Week 07 (4/6/2025)

3. Form and Proportion of Letter

Fig. 1.4 & 1.5 - Research 4 & 5_JPG, Week 07 (4/6/2025)

DECONSTRUCTION OF LETTERS

We selected one of the ten fonts provided by Mr Vinod and analyzed its H, o, b, and g letters in Adobe Illustration. I chose Adobe Caslon Pro - Regular for parsing.

Fig. 2.1-2.4 - Deconstruction of Letters_PNG, Week 07 (7/6/2025)

SKETCHES

1. We need to use three different sizes and widths of pens to write different styles of fonts on graph paper, such as broad-edged pens, flexible pointed pen and pens.

Fig. 3.1 - First sketches on graph paper_JPEG, Week 07 (7/6/2025)

2. After Mr. Vinod's comment, I decided to write a font similar to Blackletter Calligraphy, so I searched for related fonts on the Internet. Then I wrote on paper and electronically.

Fig. 3.2 - Research of Blackletter Calligraphy_JPEG, Week 08 (10/6/2025)

Fig. 3.3-3.5 - Sketches of my Typeface Design_JPEG, Week 08 (12/6/2025)

PROCESS

1. After watching the video provided by Mr. Vinod, I stared to do my Typeface Design in Adobe Illustrator.

Fig. 4.1-4.2 - Process 1_PNG, Week 09 (17/6/2025)

2. After Mr. Vinod's explanation and feedback, I made adjustments to some of the letters. He encouraged us to design using lowercase letters, as they present a greater challenge. During the process, it is important to maintain consistency in letter structure and uniformity in stroke width to ensure the overall harmony and aesthetics of the typeface.

Fig. 4.3 - Process 2_JPEG, Week 11 (31/6/2025)

I faced significant challenges while modifying the letters y and g. In an effort to maintain visual consistency, I made multiple adjustments, but they continued to appear awkward and out of place within the overall typeface. After much consideration, I ultimately decided to make major revisions to these two letters to achieve better harmony with the rest.

Fig. 4.4 - Final Process_PNG, Week 11 (31/6/2025)

Fig. 4.5 - Proportion and Alignment of the Typeface_PNG, Week 11 (1/7/2025)

3. Next, I followed the video tutorial to import my typeface into FontLab for digitization and further refinement.

Fig. 4.6 - Process in Fontlab_PNG, Week 11 (5/7/2025)

After importing, I began adjusting the width of each letter to ensure a more harmonious and balanced appearance when the letters form words.

Fig. 4.7 - Final work in Fontlab_PNG, Week 12 (7/7/2025)

POSTER

After completing the typeface, we exported and installed it on our computers, then proceeded to begin our poster design.

Fig. 5.1 - My Typeface Poster Designs_PNG, Week 12 (12/7/2025)

FINAL
1. Download font here: https://drive.google.com/file/d/1Axe5bu1JH0MTNTjEokTQcKCLqNQ-jmsu/view?usp=sharing

2. My initial sketch

Fig. 6.1 - My sketches_JPEG, Week 07 (7/6/2025)

3. Screengrab of Fontlab Process (side-bearings)

Fig. 6.2 - Fontlab Screengrab_PNG, Week 12 (7/7/2025)

4. Final Type construction in AI JPEG & PDF

Fig. 6.3 - Typeface Design and Communication "Blackletter Calligraphy"_JPEG, Week 12 (12/7/2025)

Typeface Design and Communication "Blackletter Calligraphy"_PDF, Week 12 (12/7/2025)

5. Final A4 black & white poster in JPEG & PDF

Fig. 6.4 - A4 black and white poster "Blackletter Calligraphy"_JPEG, Week 12 (12/7/2025)

A4 black and white poster "Blackletter Calligraphy"_PDF, Week 12 (12/7/2025)

6. Font Tester/Preview, Week 12 (12/7/2025)

FEEDBACKS

Week 8
General Feedback: Discuss the deadline for Task 2, explain some basic knowledge of fonts, and comment on our font sketches and demonstrate. Our choice of writing style and the combination of digital process will affect the final result, so we need to practice constantly to find a suitable style or find a style we like to study.
Specific Feedback: Blackletter calligraphy can be used as a reference. This font is very difficult and complex. It needs to be studied and practiced to avoid spending too much time.

Week 9
General Feedback: This week we were mainly about the freeback assignment for Task 3 Type Design. The common problems students had were font proportions, shape consistency, etc. We should focus more on lowercase letters because they are actually more challenging than uppercase letters.
Specific Feedback: This is a valiant attempt at calligraphy letters, and the overall effect is good, but it can be taken a step further. Try not to use too many curves to express the fonts, and their vertical lines also need to remain consistent. Mr Vinod also showed the calligraphy fonts he had made for reference.

Week 10
General Feedback: We will continue to adjust the font design this week. Mr. Vinod asked us to keep the draft to show the basis and process of creation.
Specific Feedback: When designing fonts, we need to pay attention to the uniformity of the font structure, the smoothness and curves of the letters, etc.

Week 11
General Feedback:  We need to watch Mr Vinod's video material and have a general understanding of letter spacing so that we can easily input it into Fontlab.
Specific Feedback:  The letters "g" and "y" need to be consistent.

Week 12
General Feedback:  To make a font poster design and complete the blogger, we need to show the sketches and design process.

REFLECTIONS

Experience

This assignment was both interesting and challenging for me. Honestly, I really enjoyed the process of designing letterforms, especially those inspired by cursive styles. When my lecturer introduced me to Blackletter calligraphy and encouraged me to study and reference it, I became deeply intrigued. Although this typeface is visually distinctive and expressive, it tends to hinder readability when used in long passages of text. Nowadays, it is mostly seen in clothing designs, brand logos, or newspaper mastheads. While my final typeface design slightly deviated from the traditional Blackletter style, I still gained valuable insights into type structure and stylistic expression throughout the process.

Observation

By closely observing different letters, I came to understand how crucial stylistic consistency is in type design. Even a slight deviation in one part of a letter can make the entire word appear awkward and unbalanced. Additionally, adjusting the spacing between letters requires constant observation and fine-tuning in order to achieve visual harmony. Throughout this process, I had to repeatedly zoom in and out, and compare letters side by side, to refine every detail and create a polished and well-crafted final result.

Findings

I realized that designing a typeface requires a great deal of time, patience, and continuous revision, adjustment, and observation. It is by no means a simple task. Throughout the design process, one must carefully consider multiple aspects, such as legibility, readability, visual appeal, decoration, stroke weight, spacing, and proportion. These elements are all interrelated, which significantly increases the complexity and difficulty of type design.

FURTHER READINGS

Continuing this book: ‘THE VIGNELLI CANON’ by Massimo Vignelli

Intellectual Elegance

Intellectual elegance is different from the outward elegance of manners and customs; it is the highest form of wisdom that has given rise to all the masterpieces in human history. It resides in Greek sculptures, Renaissance art, Goethe’s writings, as well as in timeless architecture, music, and the clarity of science. It guides us toward the most optimal, uncompromising solutions, elevates the simplest objects to noble status, and reflects our civic awareness, dignity, and moral responsibility. Intellectual elegance is not a style—it is the true essence of design.

Timelessness

We oppose treating design as fashion and reject trend-driven design. We refuse the mindset of short-lived novelty, wastefulness, and superficial innovation. Instead, we support design that is durable, that responds to real needs, and that upholds long-term value and social responsibility. Primary shapes and colors are celebrated for their timeless nature, and typography should transcend trends and remain true to its content. We appreciate design that is restrained, clear, and simple—because such design lasts longer and carries deeper meaning. This is what timelessness means in design.

Responsibility

In design, the most important thing is a sense of responsibility. It’s not just about making things look good, but about solving problems in the most suitable and resource-efficient way. Too often, we see flashy designs made just to please the designer’s or client’s ego, without really thinking about the user’s needs. A responsible design considers the designer, the client, and the public—finding a balance between aesthetics, function, and efficiency. In the end, good design speaks for itself. It doesn’t need an explanation.

Fig. 1 - Example of Responbility_PNG, Week 12 (12/7/2025)

Equity

Many companies want to change their logo to "refresh their image," but often it's just change for the sake of change. A good logo is built over time—it becomes a cultural symbol, like Coca-Cola, Shell, or American Airlines. These classic logos are part of the brand and shouldn't be replaced lightly. When we worked on logos for Ford, Cinzano, or Lancia, we made small adjustments, not complete redesigns. Real innovation isn't about drawing something new, but about thinking differently—with respect for history.

Fig. 2-3 - Logo of Lancia & Cinzano_PNG, Week 12 (12/7/2025)

After reading these sections, I came to realize that design carries significant responsibility, value, and a way of thinking. Intellectual elegance, for example, is not about surface beauty, but about the fusion of rationality, aesthetics, and humanistic spirit—allowing design to be visually appealing while also carrying meaning and dignity. A good design must take responsibility for society and the public, and it should also withstand the test of time. True innovation doesn’t mean abandoning the past, but rather respecting it through thoughtful updates and adjustments.

This is the end of the part 1in this book.

“Good design is not about pleasing the eye, but about communicating meaning.

It doesn't chase trends—it creates lasting value.

It doesn't break from the past—it honors it, carries it forward, and lets it evolve with purpose.

That is the true essence of timeless design.”

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XiangLingLee (0384095)