Advanced Typography / Task 3 Type Expression and Application

Advanced Typography / Task 3 Type Expression and Application

LONG BOJIANG / 0375362

9/6/2025 --- 7/7/2025 (Week8 - Week12)

Advanced Typography / Bachelor of Design in Creative Media / Taylors University

TASK 3 / Type Exploration and Application

TABLE OF CONTENTS

1. LECTURES

2. INSTRUCTIONS

3. TASK 3

4. FEEDBACK

5. REFLECTIONS

6. FURTHER READNG

 LECTURES

INSTRUCTIONS


TASK 3

Submission Requirements:

• Complete character set including A–Z, numerals, and punctuation

• Link to the exported .ttf font file

• 5 font presentation visuals (1024 × 1024 px, 300 ppi)

• 5 font application visuals (1024 × 1024 px, 300 ppi)

Proposal

For Task 3, students were required to develop a typeface based on one of the following directions:

1. Design a font that addresses or contributes to resolving a broader issue within an area of personal interest.

2. Investigate and reinterpret existing letterforms related to a chosen subject.

3. Create an experimental typographic design.

Based on these options, a proposal was to be submitted outlining the intended concept and design approach. The following is the presentation of the proposed idea:

Sketches

I drew it out using a tablet.

Digitization

To initiate the development process, initial hand-drawn sketches were imported into Adobe Illustrator. The Image Trace tool was employed to convert the raster-based drawings into clean vector outlines, establishing the foundational structure of the typeface.

I enclose all the letters in square grids to make it easier for me to adjust.


Font Refinement Process

To use it better and more conveniently, I directly adjusted the font in FontLab to ensure it was close to the standard.

Kerning

After importing all the letters, numbers and symbols, I used common test phrases such as "OATH" to check the spacing between the letters and adjusted the spacing pair by pair in the Kerning mode of FontLab.

After importing all the letters, numbers and symbols, I used common test phrases to check the spacing between the letters and adjusted the spacing pair by pair in the Kerning mode of FontLab.

Before initiating the layout design for the font presentation, a consistent color palette was established to ensure visual coherence across all slides and applications. The chosen scheme—comprising black, grey, and red—was selected for its strong contrast, clarity, and ability to support the bold, structured nature of the typeface. These colors not only enhance legibility but also reinforce the modern and assertive tone of the design. Defining a unified palette at an early stage allowed for a more cohesive visual system throughout the project.

The bright and eye-catching deep red background is complemented by the word "ADVENTURE" which is designed in a distorted and tilted style, brimming with dynamism. This design perfectly aligns with the theme of adventure, vividly embodying the exploratory drive that adventure entails, and immediately conveys an air of daring to break conventions.

The letter "A" in black stands out prominently against a red background. Its bold and powerful shape is visually striking. The text compares "A" to a starting point, a sharp blade, and a mountain peak. These metaphors all convey an upward force, communicating a spirit of breaking through the status quo and being proactive. It makes the letter "A" seem to have come alive.

The background is filled with repeated letter N, neatly arranged, exuding a sense of orderly regularity. The text part endows N with the meaning of "tendency force, balance in change", no longer treating N merely as a simple letter, but delving into the deeper concepts that can be extended behind it, giving a common letter richer connotations.

Based on the shape of a vinyl record, it naturally exudes a retro feel. The red and grey color combination is both steady and lively. The red text stands out clearly against the grey background. The text on it revolves around "dream" and "reality", and by leveraging the attribute of vinyl records that they can store sounds and carry memories, it conveys the meaning that dreams can preserve one's most genuine self. When people see this design, they can be reminded of past memories and their innermost true selves.

The letters are broken into irregular fragments and scattered on a gray background. A prominent red bar in the middle immediately catches the eye. The overall appearance is like an unfinished jigsaw puzzle, disassembling familiar letters and reassembling them, breaking the regular shape of the letters. The purpose is to make viewers break away from the conventional perception of letters and look at these commonly seen symbols from a brand-new perspective.


Font Application

The custom - styled “BEER” typography has a strong, blocky, and slightly futuristic feel. It stands out whether on bottle labels, billboards, or posters. The angular “A” logo is a key visual anchor—its sharp lines and two - tone color schemes (often red and black) exude confidence and personality, much like the “sharp bitterness” of the beer itself.
                                                                

Applications & Scenarios

1. Brand Identity & Packaging

• Bottle Labels: The “BEER” typeface and “A” logo serve as the visual focal points. A red-and-black bottle design enhances its bold, modern appeal, signaling to consumers that this beer is distinctive and unconventional.

• Merch & Accessories: Items such as coasters, tap handles, or limited-edition glassware consistently feature the type and logo. For instance, an etched “A” logo on a pint glass is simple yet instantly recognizable.

2. Advertising & Signage

• Billboards: The design uses the “BEER” font on a red background with the slogan: “One sip and the bitterness is in the wine, but the relaxation is in oneself.” It draws attention and emphasizes beer as a bold way to unwind.

• Bar Signage: Inside bars, neon or hand-painted signs using the font and logo create atmosphere and attract beer lovers who appreciate attitude and uniqueness.

3. Art & Lifestyle

Illustrations & Posters: Minimalist artwork of a beer bottle, wheat stalks, and a small truck symbolizes craftsmanship and approachability—perfect for social media, event promotions, or lifestyle ads.

Cultural Resonance: By combining bold design with beer culture, these visuals connect with craft beer enthusiasts who value branding, taste stories, and emotional experience—relaxation, confidence, or adventure.

Task 3 (Application): HONOR Competition Submission

Requirement:
Among all your typeface application outcomes, at least one must be specifically created for submission to the HONOR Global Design Awards: https://www.honor.com/global/honor-talents/global-design-awards/. You are required to submit your work to the competition website and provide proof of submission (such as a screenshot) in your e-portfolio.

Work Description:
You should creatively apply your typeface according to the theme of the competition, demonstrating how your font design aligns with HONOR’s brand values and design aesthetics. This serves as both a practical design challenge and an opportunity to showcase your work on a larger platform.

Clock Design:

Background design 1：

Background design 2：

Animation Design:

Feedback

Week 8
This week was mainly for self-study. Mr. Vinod continued reviewing our Task 2 progress, briefly introduced Task 3, and used examples to explain expectations. He clarified the goals for Task 3 and announced that all parts of Task 2 must be completed by the end of this week.

Week 9
General Feedback:
Emphasis was placed on choosing a direction that balances originality, feasibility, and visual impact.

Specific Feedback:
I proposed three ideas and selected the third design. Mr. Vinod approved this direction.

Week 10
General Feedback:
The focus shifted to consistency between uppercase and lowercase letters, especially in terms of alignment and stroke weight.

Specific Feedback:
Mr. Vinod pointed out that my letter sizes were inconsistent and reminded me to structurally align lowercase letters with uppercase ones.

Week 11
General Feedback:
We continued refining lowercase letters, punctuation, and numerals. Visual harmony among character sets was emphasized.

Specific Feedback:
Mr. Vinod stressed the importance of stroke weight consistency between uppercase and lowercase letters.

Week 12
General Feedback:
This week focused on importing fonts into FontLab and understanding the workflow of digital refinement. Accurate measurement and data handling were essential.

Specific Feedback:
Mr. Vinod noticed that I had not measured the x-height and cap height correctly in Illustrator, resulting in alignment errors after importing the font into FontLab.

Week 13
General Feedback:
This was the final week for font development and refinement. We began applying the typeface to real-world contexts and creating visual mockups to meaningfully present the design.

Specific Feedback:
My work was not completed in time and therefore missed Mr. Vinod’s live critique session.

Reflection

Experience

In Task 3, I designed a font system named "LOONG" with a strong personality and cultural tension. It originated from the logo style I designed before, and after structural extension and systematization processing, it eventually developed into a complete font family including capital letters, symbols and numbers. The entire font emphasizes structural tension, broken stroke elements and modular rhythm, and its style leans towards the visual of street culture, such as skateboards, graffiti, hats and bar signs. During the process, I mainly drew the glyphs in Illustrator and then imported them into FontLab for vector refinement and kerning adjustment to ensure the usability and consistency of the font on different media. 

Observation

During the design process of "LOONG", I paid special attention to the structural presentation of the letters A, F, and H. These three letters not only have a high frequency of appearance in the combination of the characters but also determine the overall style tone of the font. For instance, I adopted a non-closed structure for the letter "A", breaking the traditional sense of stability through the disconnected middle horizontal stroke to emphasize tension and dynamism; for "F", I removed the traditional bottom horizontal line, retaining only the top and middle horizontal structures, creating a minimalist yet aggressive form; and for "H", the middle horizontal stroke was elevated and interrupted, generating a stronger geometric impact and modular sense. These three groups of letter designs are unified within the style logic I have set, while also demonstrating the rhythm and uniqueness of the font in form. 

Meanwhile, while building the entire font library, I also observed the tension between font expression and usability. For instance, the handling of complex structures like "G", "S", and "K" requires a balance between style and readability. Additionally, I found that the performance of fonts in different application scenarios would enhance their characteristic traits - in the context of street culture, "LOONG" exudes more attitude, speed, and visual memorability. 

Finding

Through this project, I realized that fonts are not merely combinations of graphics, but a process of constructing a visual language that can convey cultural identity, emotional tone, and even behavioral cues. Designing "LOONG" made me better understand the relationship between "rules" and "breaking rules": a truly powerful font system is not completely symmetrical or simply repetitive of elements, but allows for moderate breaks and leaps while maintaining the overall structural order. Especially the handling of key letters like A, F, and H gave me an experience of a design logic of "shaping the whole with the parts". Ultimately, this font set performed well in multiple scenarios and further strengthened my determination to continue exploring fonts as a carrier of cultural narratives in the future.

Further Reading

The Role of Contrast and Consistency

One key insight I took from the reading was the dynamic relationship between contrast and consistency in typographic design. Rather than treating contrast as merely a visual technique, I now understand it as a narrative tool—something that guides the viewer’s eye, establishes hierarchy, and creates rhythm across a layout. Size, weight, color, and spacing aren’t just decorative—they shape how content is perceived and understood. At the same time, consistency ensures clarity and builds familiarity, allowing readers to process information smoothly. This understanding has helped me fine-tune the balance between visual diversity and structural coherence in my own typography work.

Typography in Context: Function Across Mediums

The book also emphasized the importance of considering how typography functions across various formats—whether in print, digital screens, or spatial installations. This idea reshaped the way I think about type: not as a fixed visual object, but as something fluid, responsive, and shaped by context. A font that works beautifully on paper might fail on a small screen, and spatial typography may need to prioritize legibility from a distance. This perspective reminded me that typography must serve both aesthetic and functional purposes, adapting intelligently to different platforms, scales, and user behaviors.

Personal Reflection: From Instinct to Intentionality

Perhaps the most meaningful change this reading inspired is how it shifted my design mindset. In the past, I often relied on visual intuition when choosing typefaces or arranging layouts. Now, I’ve started to design with greater purpose—considering how elements like rhythm, legibility, accessibility, and user context contribute to the overall communication. I’ve become more thoughtful and experimental, seeing typography not just as a means of decoration but as a tool for shaping meaning. This shift has made me more confident in my choices and more deliberate in crafting typographic systems that truly serve their message.