Advanced Typography - Task 3: Type Exploration and Application
19/11/25 - 12/12/25 (Week 9 - Week 12)
Choong Yee Leng || 0381980
Advanced Typography || Bachelor Degree in Creative Media || Taylor’s University
Task 3: Type Exploration and Application
TABLE OF CONTENTS
Lectures
Previous lecture is recorded at:
Document 2.1 Module information (19/11/2025 week9)
Process Work: Letter Construction
3.1 Research
Figure 3.1.1 Font Design Proposal (26/11/2025 week 10)
Idea 2, which is the expansion of key lock inspiration font is approved.
3.2 Ideation
Letter Construction
Figure 3.2.1 Sketches 1 (26/11/2025 week10)
Above are the sketches I did to identify the pattern of the font family from
the 6 existing alphabets, these including:
- starting with a simple shape (square or circle), then cut the shape with shape, finally cut with keyhole shape.
- the surface area of keyhole is similar to solid shape, or more than it.
- single shapes that have not modified with keyhole shape that is obvious enough to show an alphabet identify will be cut by the big keyhole as shown in the sketches
- a shape that is close to circle or a circle will cut by the round keyhole as shown in the sketches
- other corners and triangles pattern will cut by the respective keyhole shape as shown in the sketches
Figure 3.2.2 Keyhole shape extraction (26/11/2025 week10)
Before starting the letter construction, I extracted the keyhole shape
from the original letter. These extracted shapes will be fully utilized in
the letter construction process to maintain consistency.
Figure 3.2.3 Sketches 2 (26/11/2025 week10)
Above are the sketches during letter constructions. Multiples of
attempting are made to ensure visual harmony.
Figure 3.2.4 Letter construction process 1 (3/12/2025 week 11)
During the letter construction process, letters are majorly constructed by
cutting a polygon using the extracted keyhole shapes to maintain
consistency. Further modifications are made to fit in the characteristics
of different alphabets.
Figure 3.2.5 Letter construction process 2 (3/12/2025 week 11)
Above are the modification process of letter E. After constructing letter
E into phase 1, I turned to construct other letters. After constructing
letter F, I found out that letter E derived the pattern from letter F for
better consistency.
Figure 3.2.6 Letter construction in Adobe
Illustrator (3/12/2025 week 11)
Figure 3.2.7 Modification of letter Q (3/12/2025 week 11)
Figure 3.2.7 Modification of bracket (3/12/2025 week 11)
After consultation, Letter Q was suggested to be modified by
aligning the lower part of Q vertically. Bracket also suggested to
be thinned.
Font Lab
X-height: 589px
Caps height: 805px
Baseline: 0px
Figure 3.2.8 FontLab screengrab (3/12/2025 week 11)
3.3 Final Outcome
Font Application & Presentation
Figure 3.3.1 Untold font preview (pdf) (3/12/2025 week 11)
Process Work: Font Presentation & Application
4.1 Research
Figure 4.1.1 Font presentation reference (8/12/2025 week12)
- a great contrast of colour has better effect on presenting thick fonts.
- use writing font to create contrast with the display font created
- mix all the alphabets, numbers and punctuations to prove that they're getting along
Figure 4.1.2 Font application reference (8/12/2025 week12)
- postcard
- bag lock
- vinyl cover
- CD cover
- lyrics book content
4.2 Ideation
Figure 4.2.1 Font presentation work process in illustrator (15/12/2025
week13)
Figure 4.2.2 Font application work process in photoshop (15/12/2025
week13)
4.3 Final Outcome
Figure 4.3.1 Font presentation 1 (JPEG) (15/12/2025 week 13)
Figure 4.3.2 Font presentation 2 (JPEG) (15/12/2025 week 13)
Figure 4.3.3 Font presentation 3 (JPEG) (15/12/2025 week 13)
Figure 4.3.4 Font presentation 4 (JPEG) (15/12/2025 week 13)
Figure 4.3.5 Font presentation 5 (JPEG) (15/12/2025 week 13)
Figure 4.3.6 Font presentation (PDF) (15/12/2025 week 13)
Figure 4.3.7 Font application 1 (JPEG) (15/12/2025 week 13)
Figure 4.3.8 Font application 2 (JPEG) (15/12/2025 week
13)
Figure 4.3.9 Font application 3 (JPEG) (15/12/2025
week 13)
Figure 4.3.10 Font application 4 (JPEG) (15/12/2025
week 13)
Figure 4.3.11 Font application 4 (JPEG)
(15/12/2025 week 13)
Figure 4.3.12 Font application (PDF) (15/12/2025 week 13)
Font Tester
Week 9:
general feedback: Mr.Vinod asked us to complete all the uppercase
letter
specific feedback: Mr.Vinod approved idea 2, which is the expansion of
keylock font.
general feedback:
complete lowercase letter, punctuations and numbers
Week 11:
Week 12:
Further Reading
A Type Primer (2nd Ed.) by John Kane played an important role in guiding my
typeface design process, particularly in understanding the fundamental
principles of letter construction and typographic anatomy. The book helped me
recognize key structural elements such as x-height, cap height, baseline,
counters, and negative space, which informed my decisions when constructing
and refining the key lock–inspired letterforms. This knowledge was especially
useful when adjusting proportions and ensuring visual balance across different
characters. In addition, Kane’s emphasis on consistency and systematic design
influenced how I approached the extraction and reuse of keyhole shapes as a
construction rule. Rather than treating the keyhole as a decorative feature,
the book encouraged me to view it as part of the letter’s structure. The
discussions on legibility and readability also helped me identify when certain
letters needed to slightly deviate from the original system to remain
recognizable, reinforcing the idea that effective type design balances concept
with function.
absent
Week 12:
general feedback: check TDC document for font presentation
specific feedback: letter Q looks odd which need to be further
modified, the bracket stroke is too thick
Reflection
Experience:
This assignment allowed me to experience the full process of typeface
design, starting from concept development to final application. After
the approval of the key lock–inspired idea, I explored how a single
visual concept could be expanded into a complete font family. The
sketching phase involved repeated experimentation with basic geometric
forms and keyhole cut-outs to achieve recognizable and balanced
letterforms. Translating these sketches into digital form using Adobe
Illustrator and FontLab helped me better understand structure,
proportion, and consistency, while feedback sessions guided important
refinements, particularly in letters such as E, F, Q, and punctuation.
Applying the font to music-related designs in the final stage made the
project feel completer and more meaningful.
Observation
Throughout the process, I observed that a strong construction system is
essential for maintaining consistency across a font family. The extracted
keyhole shapes became a visual anchor that unified the letterforms, while
flexibility within the system was necessary to preserve legibility. I also
noticed how negative space played a critical role in defining each
alphabet, as small adjustments to the size and placement of the keyhole
cut-outs significantly affected readability. During the presentation
stage, research revealed that thick display fonts benefit from strong
colour contrast and the use of a simpler supporting typeface, which
influenced how the final font was showcased.
Findings
From this assignment, I found that typeface design is an iterative and
reflective process that requires continuous testing and refinement.
Comparing characters side by side and revisiting earlier decisions helped
improve overall coherence, as changes made to one letter often informed
improvements in others. I also found that applying the font within a
relevant context strengthened its identity and usability, as the
music-themed applications reinforced the conceptual origin of the typeface.
Overall, this project enhanced my understanding of type design as a balance
between creativity, structure, and functionality.
Figure 7.1 A Type Primer_2nd Ed_by John Kane (15/12/2025 week 13)
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