Advanced Typography: Task 3 Type Exploration & Application
10/06/2025 – 22/07/2025 (Week 8 – Week 12)
Valerius Ethan Wirawan / 0372774
Advanced Typography / Creative Media / School of Design
Task 3: Type Exploration & Application
TABLE OF CONTENT
1. Instructions
2. Process Work and Feedback
3. Final Outcome
4. Feedback
5. Reflection
6. Further Reading
1. INSTRUCTIONS
Fig. 1.1. Module Information Booklet (MIB)
2. PROCESS WORK
2.1. Type Exploration and Application
Task brief:
This project marks the culmination of the typographic knowledge and practical experience gained throughout the programme, challenging students to apply their skills in addressing real world or experimental design problems through type. Among the three available approaches, I chose the first: creating an original typeface.
This project marks the culmination of the typographic knowledge and practical experience gained throughout the programme, challenging students to apply their skills in addressing real world or experimental design problems through type. Among the three available approaches, I chose the first: creating an original typeface.
Approach 1: Students design an original font intended to address a broader issue or function as part of a solution within their chosen field, be it graphic design, animation, new media, or beyond. The font should respond to a specific need or gap in communication, accessibility, or creative expression.
We start off on week 8 by creating a proposal for this task (final
project).
Fig. 2.1.1. Task 3 Type Exploration & Application Proposal (Embeded
Canva - 05/06/2025)
Mr. Vinod advised me to do a work on the idea that interested me the most:
creating a custom font for a cryptocurrency company called
Satosch. It’s a mock-company I
created, inspired by the name
Satoshi Nakamoto.
Fig. 2.1.2. Uppercase and Lowercase Letterform Design Process (JPEG -
28/06/2025)
Fig. 2.1.3. Fontlab Screen-grab Side Bearing Adjustment (JPEG -
30/06/2025)
Fig. 2.1.4. Task 3 Type Exploration & Application Process Work
#1 (JPEG - 05/07/2025)
Fig. 2.1.5. Task 3 Type Exploration & Application Process Work
#2 (JPEG - 10/07/2025)
The second screengrab shows the font application. I experimented with
creating several patterns using the words
Satoshi Nakamoto and some numbers,
although the numbers didn’t integrate well. The design primarily features
gradient colors and repetition of the glyphs. These visuals were later used
in the 2025 Honor Talents Award (Stand By) competition.
Fig. 2.1.6. Task 3 Type Exploration & Application Process Work
#3 (JPEG - 15/07/2025)
These images show the work process behind the font application, which was
used in various design outputs: a street banner to promote Satosch’s event
and brand, a mock credit card, and several submissions for the 2025 Honor
Talents Award including a digital clock, signature artwork, animation, and
the main artwork.
3. FINAL OUTCOME
The font can be downloaded through this link.
Fig. 3.2. All Uppercase and Lowercase Letterforms (PDF - 15/07/2025)
Fig. 3.4. Font Presentation 1 (JPEG - 15/07/2025)
Fig. 3.5. Font Presentation 2 (JPEG - 15/07/2025)
Fig. 3.6. Font Presentation 3 (JPEG - 15/07/2025)
Fig. 3.7. Font Presentation 4 (JPEG - 15/07/2025)
Fig. 3.8. Font Presentation 5 (JPEG - 15/07/2025)
Fig. 3.10. Font Application 2: Honor Talents Award
2025 (JPEG - 15/07/2025)
Fig. 3.12. Font Application 4 (Animated): Honor Talents
Award 2025 (JPEG - 15/07/2025)
.jpg)
Fig. 3.13. Font Application 4: Credit Card
Mock-Up (JPEG - 15/07/2025)
.jpg)
Fig. 3.14. Font Application 5: Street Promotional Banner
Mock-Up (JPEG - 15/07/2025)
Fig. 3.15. Final Outcome: Font Presentation and
Application (PDF - 15/07/2025)
4. FEEDBACK
Week 12
No specific feedback was provided this week. However the general feedback emphasized the need to complete both the font presentation and the font application by Week 13. This includes compiling and organizing the letterform designs into a professional presentation format and applying the font in various design contexts to showcase its potential usage and functionality.
Week 11
This week I received specific feedback pointing out that the widths of my lowercase letters were inconsistent when compared to the uppercase set. Mr. Vinod highlighted the importance of maintaining similar widths between the two cases to ensure typographic harmony. This critique helped me reevaluate the proportions of my letterforms and revise them to achieve better consistency.
Week 10
Mr. Vinod reviewed my work and briefly commented "Yours are good continue" indicating that my progress was on the right track. He did not elaborate further but from the general feedback I understood that the focus for this week should be on continuing with Task 3 specifically refining and completing the lowercase letterforms. The priority is to ensure they align with the overall design language established in the uppercase set.
Week 9
Mr. Vinod gave no specific corrections on my current progress and approved the direction I was heading with. He mentioned that I could begin Task 3 which involves the development of lowercase letterforms. From the general feedback I was reminded of the importance of structure and navigation within a portfolio, specifically to include jumplinks in the table of contents for better usability. Additionally Mr. Vinod emphasized how color plays a crucial role in visual expression and identity. As a reference we were advised to look into Kim Seoyoon’s E portfolio for inspiration in terms of layout visual hierarchy and design consistency.
Week 10
Mr. Vinod reviewed my work and briefly commented "Yours are good continue" indicating that my progress was on the right track. He did not elaborate further but from the general feedback I understood that the focus for this week should be on continuing with Task 3 specifically refining and completing the lowercase letterforms. The priority is to ensure they align with the overall design language established in the uppercase set.
5. REFLECTION
Experience
Working on Task 3 was a challenging yet rewarding experience that pushed me to apply everything I’ve learned throughout the module into a single cohesive outcome. Designing a typeface from scratch required patience and precision, especially when balancing aesthetics with function. Choosing to create a custom font for a mock cryptocurrency company gave me a clear direction and theme, which helped unify my concept. Translating the font into practical applications like banners, credit cards, and digital visuals added a new layer of relevance. It was satisfying to see how the font could come to life across different mediums. Though the process was time-consuming, it gave me a deeper appreciation for type design and its potential impact.
Observation
Throughout the development process, feedback sessions played a crucial role. Even when the feedback was minimal or general, I learned to observe comments directed at my peers and apply those insights to my own work. Mr. Vinod's emphasis on maintaining consistency between uppercase and lowercase letterforms helped me revisit my proportions and spacing. I also observed how small adjustments in width or alignment can greatly improve harmony within the typeface. Working with software like FontLab taught me the importance of side bearings and technical refinement, something I hadn’t fully appreciated before.
Findings
This task deepened my understanding of how typography operates both as a form of expression and a tool for communication. Beyond designing letterforms, I had to consider how the type interacts with space, application, and visual context. It made me realize that a well-designed font is more than just a collection of letters. I also learned that effective type application needs to respect both design principles and the brand identity it's trying to represent. Moving forward, I feel more confident in taking creative risks while being grounded in typographic fundamentals. There’s still much to refine, but this task definitely elevated my skills and mindset as a designer.
6. FURTHER READING
Typography Essentials: 100 Design Principles for Working with Type by Ina Saltz
Fig. 7.1. Further Reading 'Typography Essentials: 100 Design Principles for Working with Type'
Reading the first 25 principles from Typography Essentials by Ina Saltz gave me a much deeper appreciation of how typography goes beyond just choosing fonts or making text readable. This part of the book, titled "The Letter," focuses on how individual letterforms can become powerful design tools on their own. I started to see letters not just as characters for building words, but as visual elements that carry meaning, texture, emotion, and even history.
One of the ideas that really stuck with me was Principle 1, which talks about using the letter as a form. It made me realize how letters can be treated like shapes that hold visual energy. A single letter, when used creatively, can become the center of attention, a container for texture or pattern, or even a bold graphic element. This reminded me a lot of the Type and Play task, where we’re encouraged to experiment and push the limits of form.
I also learned a lot from Principle 2, which focuses on the spaces inside and around letters, known as counter spaces. These often overlooked areas can be just as expressive as the letters themselves. The idea of “discovering treasure” inside the letters felt really inspiring, especially when thinking about negative space as an active part of the design rather than just empty background.
As I continued reading, Principles 3 to 5 explored how small changes in details or letter structure can affect the personality of a design. For example, in Principle 4, the book explains how different letter styles can carry emotional weight. A delicate italic can make something feel poetic, while a bold slab serif can feel confident or even aggressive. It made me reflect on how often I choose typefaces based on instinct, and how I need to become more intentional in matching letterform to message.
One of the most relatable sections for modern design was Principle 6, which talks about considering the medium. Whether the type is on a billboard, a website, or a mobile app, the setting plays a big role in how we should design it. The examples about digital glow and viewing distance were especially helpful for me as I’m working more with screen-based layouts. It reminded me that good typography is always responsive to its environment.
Another section I really enjoyed was Principle 8, which focuses on handmade type. In a digital age, there’s something very personal and authentic about hand drawn or irregular lettering. I found this principle useful when thinking about how to add warmth or individuality to a design. It also helped me understand why brands sometimes use hand lettering to appear more approachable or creative.
Finally, I found Principle 25, titled Theory of Relativity I, a great reminder that typography doesn’t follow one fixed rule. Every decision depends on context, message, audience, and medium. This connected well with what we’ve been discussing in our typography class, especially about finding a balance between creativity and clarity.
Overall, this reading made me more conscious of the decisions behind every letterform. It gave me useful insights for both expressive design and functional typography, and helped bridge the gap between theory and practical work. I feel more prepared to experiment, but also more aware of the responsibility behind those design choices.
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