Typography - Task 3
21/04/25 - 25/07/25 Week 1- Week 14
Aina Ahmed Aleem / 0355701
Typography / Bachelor of Design (Honours) in Creative Media
(Task 3)
Week 3
During this class, most of us took turns consulting with Sir to get our sketches approved. In the last hour, he demonstrated how to create animations and explained how to save our files properly to avoid any disruptions or technical issues.
This task involves designing a limited set of Western alphabet characters.
The process begins with selecting and analyzing an existing typeface to
understand its structure and style. From there, a series of hand-drawn
sketches are developed to explore different design directions. Once a concept
is approved, the sketches are digitized using Adobe Illustrator and further
refined in FontLab. Printed drafts are used during critique sessions for
feedback and improvement. If time permits, the font may be fully developed for
actual use.
Typography / Bachelor of Design (Honours) in Creative Media
(Task 3)
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Process
3. Process
3.1. Research
3.2. Sketches
3.3. Digitalisation
3.4. Final Outcome
4. Feedback
5. Reflection
6. Further Reading
5. Reflection
6. Further Reading
1. LECTURES
Week 1
In this lecture, we were taught the necessary steps to create our
E-Portfolio.
Week 2
During this lecture, Mr. Max taught us the fundamental steps and
essential tools in Adobe Illustrator needed for our assignment.
We explored the tool bar, option bar and workspace, and learned how to
use them effectively to maximize our workflow and design
capabilities.
Week 3
During this class, most of us took turns consulting with Sir to get our sketches approved. In the last hour, he demonstrated how to create animations and explained how to save our files properly to avoid any disruptions or technical issues.
Week 4
We were taught the steps to complete Task 2 and the basics of Adobe
InDesign. Mr. Max provided various examples as reference. and gave
clear instructions on the next step: creating 8 rough sketches for the
article which we are to submit on week 5.
I shared my GIF from Task 1 with Mr. Max, who approved it, allowing me
to move on to Exercise 2.
Week 5
Our Week 5 class was conducted online. During this tutorial, we were
introduced to the fundamentals of Adobe InDesign and were guided
through the essential steps needed to complete Exercise 2 efficiently.
Week 6
We were briefed on Task 2 and was shown examples of senior students
works in class.
Week 7
This was a consultation focus class to complete Task 2 and to show
progression / get feedback.
Week 8
Develop a variety of font sketches and finalize Task 2. Ensure all
sketches are completed by Week 9.
Week 9
Task 2 submission and Mr. Max gave a comprehensive demonstration on how to
deconstruct letterforms and transform hand-drawn sketch fonts into digital
type using Adobe Illustrator. He also emphasized the importance of
maintaining consistent baselines and font heights.
Week 10
This was an online consultation class for those who wanted to show
progress for their task 3.
Week 11
This was another consultation for task 3.
Week 12
During this class, Mr. Max demonstrated how to use FontLab and had all of
us follow along so we could get it done quickly.
2. INSTRUCTIONS
3.1 Research
For this Task, we are to design the letters A E P Y I T G D M O B
or a e p y i t g d m o b
and punctuation: , . ! #. The purpose of this project is to develop an understanding of what makes a
well-designed typeface focusing on subtlety, character, presence, legibility,
and readability. The process begins with research, sketching, and analyzing
existing typefaces through deconstruction. Design development is carried out
using Adobe Illustrator, with final refinement and construction in
FontLab.
I began by researching various typefaces and font designs to gather
inspiration. My concept was to create a nature-inspired typeface, drawing
influence from trees and plants. With this direction in mind, I focused on
exploring more organic and flowing forms rather than structured, geometric
styles.
 |
| Visual References from Pinterest |
3.2. Sketches
After researching type design, I began sketching a few letterforms using Procreate, making use of the drawing grid to keep my work neat and proportional. I initially aimed for an organic style, inspired by natural forms, but soon realized that my early sketches looked too common and lacked uniqueness.
 |
| Initial Sketches |
After a few rounds of trial and error, I developed a design that I felt more confident about, and it was well received by Mr. Max as well. Based on his feedback, I refined several letterforms to improve consistency across the set. Once I was satisfied with the adjustments, I moved on to the digitization process in Adobe Illustrator.
 |
| Final Sketch after Mr. Max’s Feedback |
3.3. Digitalisation
Once I digitised my final font design, I followed Mr. Max's instructions in class of how to develop and export our font in FontLab. I imported all letters into FontLab, and did the individual kerning for each glyph in the metrics tab, as demonstrated by the graph sent by Mr. Vinod.
Once I exported the font and installed it on my laptop, I created a poster to showcase the final font design.
3.4. Final Outcome
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| Final Metrics Table on FontLab (side bearings and kernings) |
|
Final Task 3: Type Design and Communication "Leaflet" jpeg |
|
| "Leaflet" Typo Poster A4 jpeg |
Final Task 3: Type Design and Communication "Leaflet" - PDF
Final Task 3: Typo Poster "Leaflet" - PDF
4. FEEDBACK
Week 9
General Feedback: Mr. Max gave a comprehensive demonstration on how
to deconstruct letterforms and transform hand-drawn sketch fonts into
digital type using Adobe Illustrator. He also emphasized the importance of
maintaining consistent baselines and font heights.
Week 10
General Feedback: This was an online consultation class for those who
wanted to show progress for their task 3.
Specific Feedback: I was still unsure of my design so I asked if I
could have them done by next class.
Week 11
General Feedback: This was another consultation for task 3. Got my
font sketches approved.
Specific Feedback: Mr. Max gave suggestions on how to improve the
design of some letters. I got them approved in class and moved onto
digitisation.
Week 12
General Feedback: During this class, Mr. Max demonstrated how to use
FontLab and had all of us follow along so we could get it done
quickly.
Specific Feedback: He helped me with the side bearings and I exported
the font in class. All I have left now if to compile all the tasks for my
E-portfolio.
5. REFLECTION
Experience
This typography project was a valuable and enjoyable experience. It was my first time creating a custom typeface from scratch, and I really enjoyed seeing my sketches slowly transform into a digital font. I liked exploring different ideas and watching the letters come together on screen. It was exciting and fulfilling to see the final result, and it made me feel proud to have created my own font. This project helped me understand the process of type design and gave me a deeper appreciation for the small details that go into it.
This typography project was a valuable and enjoyable experience. It was my first time creating a custom typeface from scratch, and I really enjoyed seeing my sketches slowly transform into a digital font. I liked exploring different ideas and watching the letters come together on screen. It was exciting and fulfilling to see the final result, and it made me feel proud to have created my own font. This project helped me understand the process of type design and gave me a deeper appreciation for the small details that go into it.
Observations
While studying and breaking down different typefaces, I noticed that many letterforms rely on small visual adjustments to look balanced. For example, some letters extend slightly beyond the baseline or cap height to appear aligned when viewed at a distance. These subtle tweaks aren’t always obvious at first, but they play a big role in how the typeface feels overall. This made me realize how important it is to really look closely and not assume that everything is perfectly symmetrical or evenly sized.
While studying and breaking down different typefaces, I noticed that many letterforms rely on small visual adjustments to look balanced. For example, some letters extend slightly beyond the baseline or cap height to appear aligned when viewed at a distance. These subtle tweaks aren’t always obvious at first, but they play a big role in how the typeface feels overall. This made me realize how important it is to really look closely and not assume that everything is perfectly symmetrical or evenly sized.
Findings
I discovered that designing a typeface is a much more complex and
time-consuming process than I expected. It requires patience, close
observation, and a strong understanding of letter anatomy. During the
sketching phase, I also learned the importance of stroke contrast and
consistency; without these, the font can appear unbalanced or awkward. This
project taught me that good typography is both an art and a science.
6. FURTHER READINGS
Book Title:
How to Create Typefaces: From Sketch to Screen
by Cristóbal Henestrosa, Laura Meseguer, and José Scaglione
Chapter: “From Idea to
Design”
This chapter outlines the initial stages of typeface design, from defining a concept to developing the first few letters. The authors explain how to choose the right starting characters (often n, o, h, and a) because they help establish proportions, stroke contrast, and overall style. The chapter emphasizes how early design choices impact the consistency and tone of the entire typeface. It also introduces key considerations like optical correction, weight balance, and modular construction.
This reading gave me a clearer structure for approaching my own font design. It helped me understand which letters to begin with and why, and how to build a cohesive set from a small starting group. I found it especially helpful when transitioning from sketch to digital, as it reinforced the importance of testing proportions early on.
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