Advanced Typography | Task 3: Type Exploration & Application
04/06/25 - 02/07/25 [ Week 8 - Week 12 ]
Nicco Chew Jin Xun (0366563)
Advanced Typography | Bachelor of Design (Hons) In Creative Media | Taylor's University
Tutor: Mr. Vinod
Table of contents
Task 3: [ Type Exploration & Application ] (30%)
4. Reflection
Instructions
Task 3 / Type Exploration & Application
Research
Since my goal was to design a typeface that visually reflected architectural qualities, I turned to Pinterest as a source of inspiration. I searched for fonts that carried a structural, geometric, or architectural feel whether through sharp lines, modular systems, or monolithic letterforms. Browsing through these references gave me a clearer sense of direction and helped me define the tone of my own typeface. Some designs reminded me of blueprints, while others echoed classical columns or arches, which aligned well with my concept. Collecting and analyzing these examples not only sparked new ideas but also gave me a better understanding of how visual weight, symmetry, and proportion can be used to communicate a sense of "architecture" within typography.
My typeface relied heavily on a custom grid base to achieve the architectural look I envisioned. I also searched on Pinterest for examples of typefaces that were constructed using visible grid systems. I specifically looked for fonts where the design process incorporated underlying lines, shapes, or geometric modules as these helped me understand how to build consistent, well-balanced letterforms.
As I analyzed these examples, I noticed a common pattern: many of the fonts were constructed using a combination of squares, circles, and occasionally triangles. These basic geometric forms created a stable and repeatable structure across the entire type system. Squares provided a solid foundation, circles added fluidity and softness to the curves, while triangles were often used to create dynamic angles or sharp terminals.
Progress in Adobe illustrator
One of the architectural features that stood out to me the most in the Damascus buildings was the signature arched doorway, a graceful and iconic element that felt essential to capture. Inspired by this, I began constructing my own geometric framework grid, which I used as the foundation for building each letterform.
The grid consists of repeated circular and rectangular modules, carefully aligned to reflect the rhythm and balance found in the building's layout. I wasn’t sure at first if “grid” was the correct term, but I see it as a modular structure that guides the entire development of the typeface.
As shown in the image above, I went through four main iterations. Each version became more refined in terms of proportion, alignment, and visual harmony. I constantly evaluated the spacing, curve dynamics, and how the arches flowed within the structure. By the final (4th) version, the grid had become a stable system that helped me generate a consistent font.
As I progressed from the 3rd to the 4th version of my typeface grid, I made a key structural decision: I connected the small square and circle modules located on the side of each form. This change make it became a symbolic and functional feature across all the letterforms. By introducing this connection, I created a consistent architectural element that appears throughout the entire type system. It almost acts like a “joint” or “support beam” which is a subtle yet intentional structure that holds the design together. This detail not only enhanced the visual rhythm and unity of the font, but also gave it a recognizable identity. In a way, this connected part became a signature motif, something that visually ties every letter back to the core concept of construction, support, and architectural order.
To begin forming actual letters from the geometric grid I built, I used the Shape Builder Tool in Adobe Illustrator. This tool allowed me to merge, subtract, and refine sections of the grid into solid, readable letterforms. It felt like I was sculpting the letter out of architecture like using structural shapes as the blueprint and carving away the unnecessary parts.
Making Punctuations
Import font into FontLab 7 & FontForge
Font Presentation Process
Font Application Process
After finishing some of the mock-up, I began experimenting with colour adjustments to better match the colour palette I had previously chosen. My goal was to create a more unified visual identity between the font presentation and the font application.
I tested some of the tool in filter gallery such as halftone pattern and charcoal. I even added some grain textures to give the mock-up a more tactile, weathered look, as if the design had aged over time or been exposed to rough environments.
Despite trying several variations, I eventually realized that most of the color changes felt excessive or unnecessary. Instead of enhancing the design, they started to distract from the clarity and strength of the typeface itself. In the end, I decided that a more minimal and raw approach worked better, allowing my font to remain the main focus while still maintaining a cohesive tone with the rest of the visuals.
Honor Competition
FONT TEXTER
Feedback
- Week 9 [ 18/06/25 ]
General Feedback:
For this week, Mr. Vinod reviewed selected
e-portfolios and provided us with guidance
on how to better organize and submit our
work. He suggested adding a cover page to
our blogs to enhance their identity and make
them more impactful. Additionally, he gave
individual consultations on our Task 3
proposal presentations, offering feedback on
which aspects were approved and which could
be further improved.
Specific Feedback:
He said the second idea is interesting but
it'll be better to make attempt first and make
clear objectives so that he can understand
what my idea is.
For this week, Mr. Vinod reviewed selected e-portfolios and provided us with guidance on how to better organize and submit our work. He suggested adding a cover page to our blogs to enhance their identity and make them more impactful. Additionally, he gave individual consultations on our Task 3 proposal presentations, offering feedback on which aspects were approved and which could be further improved.
- Week 10 [ 25/06/25 ]
General Feedback:
Mr Vinod suggested to find a reference font
and type the letters and punctuations out to
do a comparison
when we creating punctuations so our punctuations sizes won't go
wrong.
- Week 11 [ 02/07/25 ]
General Feedback:
Mr. Vinod mentions that if we not going
to do lowercase letters, then remember we
need to import the uppercase letters into
lowercase letters too during
FontLab.
- Week 12 [ 9/07/25 ]
General Feedback:
Sir briefed us the Honor competition and
our next task which is 3 font applications
and 5 font presentations. He also gave
examples on how we should do our font
presentation.
- Week 13 [ 16/07/25 ]
General Feedback:
Absent due to stomach cramps.
Reflection
During the early stages of the project, I spent a significant amount of time studying the architecture of Damascus buildings. What caught my attention most was the consistent of arches that are elegant, structural, and deeply symbolic. I noticed how these archways weren’t just decorative, but essential parts of the building’s form and identity. Their curves created a natural flow, while the repetition of shapes and symmetry brought a strong sense of order and rhythm. These observations shaped the core direction of my typeface idea. I aimed to create letterforms that felt just as structured and harmonious as the architectural references, with a strong visual identity rooted in geometry and balance.
As I continued the design process, I discovered that architecture and typography share more similarities than I initially expected. Both rely heavily on proportions, alignment, and structural logic. To translate this into my font, I constructed a geometric grid inspired by architectural layouts that made up of circles and rectangles. I iterated through four versions of this grid, refining how each component interacted with the others. I also realized that not every design decision needed to be overly complex. Sometimes, simplifying a shape could enhance clarity while still maintaining the architectural essence. These findings helped me create my typeface.
Further Reading
1. Typography Is Not Just Font Choice – It’s a System
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Lupton explains that typography involves structure, spacing, alignment, and rhythm, not just choosing a pretty font.
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She emphasizes how type behaves in space and how readers visually navigate text.
2. Three Main Sections:
➤ Letter
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Covers anatomy of type, classification (serif, sans serif, script, etc.), and historical evolution.
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Key idea: Letters are visual forms, and every part (x-height, ascender, bowl, etc.) matters in readability and tone.
➤ Text
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Focuses on legibility, spacing, and hierarchy within a body of text.
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Teaches how to control leading, kerning, justification, and line length.
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“Typography exists to honor content.” (One of the most famous lines.)
➤ Grid
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Explores how to use grids and layout systems to structure content.
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Encourages breaking the grid creatively when necessary, but first understanding its logic.
3. Form Follows Function—but also Expression
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Lupton argues that typography isn't just about clarity—it's also about voice and expression.
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She introduces the idea of expressive typography, where form enhances the meaning of the message.
4. Visual Examples & Practical Tips
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The book is filled with real-world examples, visual comparisons, and exercises.
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She shows what to do and what not to do, which is useful for self-learning and refining your own type work.
5. Critical Thinking Meets Visual Design
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She introduces basic semiotics and design theory, helping you think deeper about what your typography communicates beyond words.
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Ideal for both creative inspiration and technical refinement.
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