Typography - Project 2: Type Design and Communication
Week 8 - Week 12 (8/6/2026 - 12/7/2026)
Emily Wong Jing Lin | 0394765
GCD 62704 | Typography | Bachelor of Design (Honours) in Creative Media | Taylors
University
Project 2: Type Design and Communication
TABLE OF CONTENT
*Figures are numbered by section type (Lecture = 1, Instruction = 2,
Process Work = 3, etc.) and progression within that section. For example,
Figure 1.6.1 means Lecture section, week/phase 6, first figure.
1. LECTURES
Pre-Recorded Lectures
Lectures have been done.
Lecture 1–5: Notes have been completed and uploaded in Typography - Practical Tasks: Exercises.
Lecture 6: Notes have been completed and uploaded in Typography - Project 1: Typographic Exploration & Communication.
Class Summary
Lecture 8-12: Feedback
Lecture 8-12: Feedback
10/6/2026-8/7/2026 (Week 8-12)
2. INSTRUCTIONS
https://drive.google.com/file/d/1hgEV45cK1JwLiLRRCuF1utBlXpFhiGwH/view
3. PROCESS WORK-Type Design and Communication
Project Overview
Through this project, we were able to learn about the structural anatomy and
design logic of different typefaces. Our task was to design our own unique
custom font, which will be used in our upcoming assignment to create a poster
focused on mental health awareness.
Phase 1: Dissection & Observation
To begin, we had to choose one typeface from the "10 Fonts" list and complete
a structural dissection of the letters "Hogb", using Mr. Vinod’s dissection
example of the letter "r" as a reference.
I chose the typeface Adobe Caslon Pro and completed the anatomy analysis for "H,O,G,B,h,o,g,b". This practice helped me realise and understand that every single typeface is engineered with its own unique visual rules and design logic.
Figure3.1.1 Reference of Letter Dissection
I chose the typeface Adobe Caslon Pro and completed the anatomy analysis for "H,O,G,B,h,o,g,b". This practice helped me realise and understand that every single typeface is engineered with its own unique visual rules and design logic.
Figure3.1.2 Letter Dissection of Adobe Caslon Pro
(H,O,G,B,h,o,g,b)
After analyzing and dissecting the letters
"HOGBhogb" on 1000pt
x 1000pt artboards in Adobe Illustrator, I have made several key
observations about the structure and visual logic of
Adobe Caslon Pro:
-
Geometric Foundations: By drawing circles over the curved letterforms, I observed that rounded letters like O, G, o, and g are based on circular shapes. The outer and inner curves of these letters match geometric circles perfectly, which gives the typeface a balanced and classic look.
-
The Logic of Serifs and Terminals: While tracing the straight lines, I noticed how the serifs (the small feet at the ends of the strokes) on letters like H, B, and h follow a strict horizontal alignment. Additionally, the small decorative dot (ear/terminal) at the top right of the lowercase g is also perfectly shaped by a tiny circle.
-
Stroke Contrast (Thick and Thin): I observed a clear contrast between the thick and thin parts of each letter. For example, in the uppercase O and lowercase o, the sides are much thicker than the top and bottom. This subtle change in weight makes the font look very elegant and smooth.
-
Consistent Proportions: By creating vertical and horizontal guidelines across all eight artboards, I discovered that letters share consistent mathematical heights and spacing. The ascenders of lowercase h and b align neatly, and the descender loop of the lowercase g fits perfectly into its own structured circular boundary.
After finishing the dissection task, I started sketching ideas for my own
custom typeface. I experimented with three different types of pens to create
the letterforms: the Artline 517 Whiteboard Marker (3.0mm), the Artline
Calligraphy Pen (3.0mm), and the Artline Calligraphy Pen (4.0mm).
Figure3.2.1 Word Design Draft
After showing my sketches to Ms. Vitiyaa and getting her approval, I chose
the final design option to proceed with. Although the project brief on MS
Teams only required us to complete the letters (A, B, C, D, E, I, K, L, M,
N) and a few punctuation marks (, . ! #), I decided to challenge myself and
design the full set of 26 English letters, as I might be able to use my own
custom font for future design projects. Below are the uppercase sketches of
my full 26-letter design.
Figure3.2.2 Design of All Letters (Hand-Drawn Ver.)
Phase 3: Digitalising The Typeface
Following the helpful tutorial videos provided by Mr. Vinod, I brought my
sketches into Adobe Illustrator to begin the digitalising process, turning my
hand-drawn letters into clean vector shapes.
Figure3.3.1 Design of All Letters &
Punctuation Marks (Digitalise Ver.)
Figure3.3.2 Design of All Letters &
Punctuation Marks (Raw Shape Ver.)
Inspiration (Design Concept)
The core foundation of this typeface design is based on the
Serif category.
I explored
Fontshare (the
website provided by Mr. Vinod) and selected two specific serif typefaces
as my primary visual reference.
Figure3.3.3 Font Reference: Boska
Figure3.3.4 Font Reference: Gambarino
In addition to the serif structure, I integrated another very important
element into my letterforms:
triangles. My
creative concept comes from the idea of mental health—I feel that mental
health is not always smooth and peaceful; sometimes it can feel sharp,
intense, and overwhelming. Because of this concept, I incorporated sharp
triangular shapes into the letters, and I decided to name my custom
typeface
"Spikes".
Once the digitalising work was complete, we were required to copy and paste
our vector designs from Adobe Illustrator into
FontLab 8. The final
step was to export and download our work as a functional font file, which we
will use to design our upcoming mental health posters. For this process, we
used the free demo version of FontLab 8 at home. However, we were also given
the option to use the university's Mac Lab (D7.04) to complete this task,
since the lab computers have the full, unrestricted version of FontLab
installed.
Figure3.4.1 Design of All Letters & Punctuation Marks (FontLab
Ver.)
Figure3.4.1 Design of All Letters & Punctuation Marks (FontLab
Matrix Tab Ver.)
Figure3.4.2 Design of All Letters & Punctuation Marks (Final
Ver.)
Phase 5: Poster Design
For the final phase of this project, we were tasked with creating a mental
health poster that uses our own custom-designed typeface to showcase the
phrase
"BE KIND AND CALM".
I managed to complete my poster design quite quickly because I had a clear
layout in mind. First, I divided the phrase "BE KIND AND CALM" into four
separate sections, arranging them from top to bottom using a clean,
centre-aligned layout. To create a nice sense of balance and focus, I made
the four words smaller and placed them neatly in the centre of the canvas.
This layout allows my custom typeface, "Spikes", to stand out while
conveying a peaceful yet structured message.
Phase 6: Font Tester
Test the font by texting some words below.
Phase 7: Final Outcome
Font Details:
- X-height: 424
- Cap Height: 637
- Ascender: 679
- Descender: -212
Download Font Here:
Figure3.7.1 New Matrix Tab with "BE KIND AND CALM"
Screengrab
Figure3.7.2 Final Outcome of the Font 'Spikes'
(JPEG)
4. FEEDBACK
Week 8
General Feedback: This week, we were required to complete our
assignment (using letters H,o,g,b, do a detail dissection) by following the
specific instructions provided by Mr. Vinod.
Specific Feedback: No specific feedback was given.
Week 9
General Feedback: Due to the public holiday, we were required to work
independently at home to complete the tasks that had been set for us.
Specific Feedback: No specific feedback was given.
Week 10
General Feedback: This week, we were required to present our initial
typeface designs for the core letters (HOGBhogb) to Ms. Vitiyaa for
approval. Once approved, we could proceed to design the remaining characters
in the set (A, B, C, D, E, I, K, L, M, N, . ! #). After completing these
sketches, we were instructed to follow the tutorial videos provided by Mr.
Vinod to begin the digitalising process in Adobe Illustrator. We were also
given the option to expand and design the full set of 26 letters if we
wished.
Specific Feedback: Ms. Vitiyaa noted that two of my letterform
designs looked very good. Therefore, I was given the approval to proceed
with the remaining tasks and start digitalising my work.
Week 11
General Feedback: This week, we were required to copy and paste our
digitalised typeface designs from Adobe Illustrator into FontLab. After
that, we had to generate them into an actual working font file so that we
can use it for our upcoming poster design project. A detailed tutorial video
explaining this process has been provided on MS Teams.
Specific Feedback: No specific feedback was given.
Week 12
General Feedback: This week, students who had successfully exported
their custom typefaces were allowed to move on to the poster design phase.
We were required to type out the quote "be kind and calm" using our own
fonts. For those of us who had already finished the poster design, we were
instructed to continue updating our ePortfolio.
Specific Feedback: When I began working on my poster layout, Ms.
Vitiyaa walked past my seat and officially approved my design. She noted
that when a typeface already looks good and strong, there is no need for
overly complicated layouts, as a clean and simple design is more than enough
to highlight the beauty of the font.
5. REFLECTION
Experience
Analysing Classic Typefaces: I gained first-hand experience in dissecting a traditional serif font, Adobe Caslon Pro, on a 1000pt artboard. It allowed me to trace the circles and lines that make up professional lettering.
Analysing Classic Typefaces: I gained first-hand experience in dissecting a traditional serif font, Adobe Caslon Pro, on a 1000pt artboard. It allowed me to trace the circles and lines that make up professional lettering.
Full Alphabet Design Challenge: Although the MS Teams brief only required a few characters, I chose to experience the entire process of designing all 26 uppercase English letters. This taught me how to stay disciplined and maintain a single design concept across many different shapes.
Using Professional Font Software: I experienced importing my vector drawings from Adobe Illustrator into FontLab 8. Even though I used the free demo version at home, learning how to generate an actual, usable font file was a completely new and exciting practical skill for me.
Observation
The Geometry Behind Letters: While drawing the guide shapes in Illustrator, I observed that curved letters like O and g are not just random curves; they are based on very precise mathematical circles and consistent stroke contrasts.
The Geometry Behind Letters: While drawing the guide shapes in Illustrator, I observed that curved letters like O and g are not just random curves; they are based on very precise mathematical circles and consistent stroke contrasts.
Concept-Driven Letterforms: I observed that a typeface can carry a deeper emotional message. By adding sharp triangular shapes to my font "Spikes", I noticed how visual elements can represent the complex and intense feelings of mental health.
Simplicity Highlights the Font: During the Week 12 feedback session, Ms. Vitiyaa approved my poster and noted that when a custom typeface looks good, the layout should be kept clean and simple. I observed that minimal, centre-aligned layouts are often more than enough to highlight the beauty of the font itself.
Findings
Design Requires Rules and Logic: My biggest finding from the dissection phase is that typography is not just about drawing pretty shapes. Every reputable font has its own strict structural logic and visual harmony that keeps it legible.
Design Requires Rules and Logic: My biggest finding from the dissection phase is that typography is not just about drawing pretty shapes. Every reputable font has its own strict structural logic and visual harmony that keeps it legible.
Proactive Decisions Pay Off: I found that taking the initiative to design the complete 26-letter alphabet was highly rewarding. It gives me a fully working custom tool that I can proudly reuse in any of my future graphic design assignments.
Less is More in Poster Layouts: I found that a successful poster does not need overcrowded elements or complicated decorations. By dividing "BE KIND AND CALM" into a simple vertical structure and reducing the text size, the negative space actually made my "Spikes" typeface look much more striking and professional.
6. FURTHER READING
Figure6.1 Why Fonts Matter, 2016, by Sarah Hyndman
Author Description: The book was written by Sarah Hyndman, a British designer, researcher, and the founder of Type Tasting. She is well-known for her interactive research that explores how typography influences our everyday lives. Rather than looking at typography from a purely technical perspective, she uses psychology and sensory experiments to study how different letterforms affect human emotions, moods, and choices.
Book Description: Published in 2016, this book is an engaging study that bridges the gap between typography and graphic psychology. It acts as a guide to understanding the secret language of fonts, showing how different weights, angles, and shapes trigger instinctive reactions in our brains. Through fun surveys, clear charts, and visual examples, the book reveals how fonts can evoke distinct emotions, sounds, and even tastes. For typography students, it is an incredibly insightful resource for learning how to use type as an intentional communication tool rather than just a decorative element.
Why I find this book interesting:
The emotional impact of sharp and angular letterforms
Figure6.2 Reference from Why Fonts Matter, page41
- As shown in Figure 6.2, when audiences look at sharp, jagged, and heavily slanted typefaces like Modified Klute, their subconscious immediately links them to feelings of anxiety, tagging them with words such as "jarring, sharp, prickly, jagged, and angular".
Figure6.3 Reference from Why Fonts Matter, page70
- Furthermore, Figure 6.3 highlights the psychological parallel between the physical world and typography, proving that "unfriendly or impersonal" visual messages are directly caused by angular shapes and sharp corners.
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