19.11.2025 - 16.12.2025 (Week 9 - Week 13 )
Nur Asma’ Binti Anuar / 0378095 / BDCM
Advanced Typography
Task 3: Type Exploration & Application
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LECTURES
Refer to Task 1 & 2 Blogs:
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INSTRUCTIONS
For Task 3, we have to create a font that is intended to solve a
larger problem or meant to be part of a solution in the area of your
interest be it graphic design, animation, new media or entertainment
design or any other related area not necessarily reflecting your
specialisation. End result: a complete generated font (.ttf) with
applications.
or
Explore the use of an existing letterform in an area of interest,
understand its existing relationship, identify areas that could be
improved upon, explore possible solutions or combinations that may
add value to the existing letterform / lettering. End result: a
complete generated font (.ttf) with applications.
or
Experiment. For your idea to qualify as an experiment it must be
novel and unique — working with material that might be 3-
dimensional, digitally augmented, edible, unusual, typographic music
video or fine art. End result: defined by student.
The end outcome could be a designed font and its application in
the form or format that it is intending to provide a solution to,
or a designed font that adds value to an existing use, or an
experimentative output that results in something novel and
unique. The work can manifest into any kind of format related to
the issue being solved or explored or experimented: animation, 3d,
print, ambient, projection, movie title or game title, music
video, use of different material etc.
We need to think of three ideations minimum and consult with Mr.
Vinod. Below is my proposal for this task.
Fig.1.1 Proposal Presentation (PDF) (19.11.2025)
The ideation I wanted to explore the most and do was ideation #3. This
ideation falls under experimentation. I wanted to have a little bit of
artistic exploration with this one, trying to find different patterns and
see which one fits with one another.
I started with the sketches, seen in the proposal slide. Then I input it
into Procreate to have better access with a grid system. After making my
grid by 4 by 4 squares, I applied the patterns that were inspired by the
Javanese Batik patterns. I made an alignment for the patterns first before
I start with the letterforms. then finally I found the pattern that would
work, and applied it to the letter A.
Fig.1.2 Pattern trial & error, letterform A (23.11.2025)
After that I continued on creating the outlines for the letterforms, all
of the letterforms were created by myself.
Fig.1.3 Outline for Letterforms sketch (23.11.2025)
Then lastly of the sketch, I placed the patterns for each letterforms. I
had to manually erase it as masking was not possible. Then I drew thicker
lines on the sides to create a shadow for carving.
Fig.1.4 Pattern input on letterforms sketch (23.11.2025)
After finalizing the sketch, I then input it to Illustrator and started
to trace it. I started to trace the outlines of the letterforms firstly
before I started with the patterns. I used a 1000px by 1000px for the
canvas size so that the details of the patterns would not
go disarray.
Fig.1.5 Outline letterform A Illustrator (27.11.2025)
Then I traced the patterns manually, I adjusted the placement of the
waves and squiggles to switch sides.
Fig.1.6 Pattern finalization Illustrator (27.11.2025)
Then I placed the patterns onto the outline letterform. I had to manually
erase it as well, which took a longer time. After that I create thicker
lines on the sides to make it appear like shadows for carvings.
Fig.1.7 Process letterform A (27.11.2025)
Fig.1.8 Final letterform A (27.11.2025)
Fig.1.9 Final letterforms A - Z (01.12.2025)
I realized I was already late into making the Uppercase letterforms, so I
intended to make it a unicase font instead. I asked my seniors about
the possibility for lowercase, most of them said it won't work since my
patterns were too detailed. And that I was also running out of time.
I moved forward with creating the numerals. for this I had to outline it
on Illustrator without any sketch. I also made sure to make them slightly
thinner and shorter than the letterforms.
Fig.1.10 Outline numerals 0 - 9 (01.12.2025)
Fig.1.11 Process numeral 1 (01.12.2025)
Fig.1.12 Final numerals 0 - 9 (03.12.2025)
After the numerals were done, I started with the punctuation. I wanted to
test out whether I could create my own, but I was told that I had to use a
reference font instead of making my own to make it easier. So I used Arial
Black as my reference font for the punctuations.
Fig.1.13. Punctuations failed attempts (07.12.2025)
Fig.1.14. Reference font punctuation - Arial Black (07.12.2025)
I then traced and outline each punctuations. I made the dots and
commas to be the star pattern as it is rounded. I was told to make
these punctuations to be over the baseline and reach the descender:
(){}[];,|_
Fig.1.15. Process punctuations #1 (07.12.2025)
Then I placed the squiggles pattern as the main one for each of them,
except for the rounded ones. I was told to make sure the punctuations are
clear with minimum details.
Fig.1.16. Process punctuations #2 (07.12.2025)
I wanted to make it more seen and highlighted, so I made the outlines
thicker in the end. I also changed the longer dash to be a ~ instead.
Fig.1.17. Final punctuations (07.12.2025)
Fig.1.18 Final font (07.12.2025)
Then I went on to paste the letterforms into fontlab. There was a problem with downloading or exporting it as a
ttf and/or otf file. It kept on loading for hours and crashing every
time I wanted to export it as a ttf or otf file. So for now I have no
downloadable font of my typeface as I had issues with exporting in
fontlab.
Fig.1.19 FontLab interface (10.12.2025)
Fig.1.20 FontLab test (10.12.2025)
Fig.1.21. FontLab Batique typeface (10.12.2025)
After I had received feedback from mr. Vinod, I was advised to focus
on my presentation and application. For my color palette, I wanted it to be
earth tone like batik usually is. As for my idea and vision, I wanted to
present the font similar to how batik is artistically shown, and then a
mixture of simple font presentation.
Fig.1.22. Batique color palette (12.12.2025)
Fig.1.23. moodboard (12.12.2025)
I also took inspirations from my seniors for reference on how to
present my font.
Fig.1.24. Process presentation #1 (12.12.2025)
Fig.1.25. presentation #1 (12.12.2025)
For the typeface presentation, I wanted to align it in the center, and add
something like a batik pattern at the corner. I tried a couple of trials and
errors, in the end I sticked to just having the typeface.
Fig.1.26. process trials presentation #2 (12.12.2025)
Fig.1.27. presentation #2 (12.12.2025)
For the #3 one, I wanted to showcase the numerals next to the
letterforms, so I chose B A T I Q as my main five letters. I wanted
to make the presentation artistic as well since its
showcasing patterns.
Fig.1.28. presentation #3 (12.12.2025)
For the #4 one, the same idea applies to this one, I wanted to
write out the name of the typeface, and showcase its patterns next
to it.
Fig.1.29. presentation #4 (12.12.2025)
For the #5 one, I went to play around what was more suitable for a font
presentation to also showcase the batik patterns, and in the end I chose
the third option.
Fig.1.30 process trials presentation #5 (12.12.2025)
After the font presentation was done, then comes the applications. In
the beginning it was explained that this was an experimentation that
leads to patterned font as a carving tool. So I searched some mockup
photos of surfaces and appliances to applicate the usage of this font. I
used a plate, a wooden table, a wooden wardrobe, vases, and a wall.
I used Photoshop to adjust the lighting of each photos and give it a
batik texture as an overlay.
Fig.1.31. process application ps (14.12.2025)
Fig.1.32. process application photos after ps (14.12.2025)
Then finally, I used Illustrator to apply the Boutique
letterforms and patterns on each application and appliances. For
this I had to use different colors to make the carving more in
tune with the material, although it's not perfect, it was
something I enjoyed doing.
Fig.1.33 application photos after Illustrator (14.12.2025)
FINAL OUTCOME
Font Typeface
Fig.2.1. Final Font Typeface (07.12.2025)
Font Presentation
Fig.2.2. Final Font Presentation #1 (JPEG) (15.12.2025)
Fig.2.3. Final Font Presentation #2 (JPEG) (15.12.2025)
Fig.2.4. Final Font Presentation #3 (JPEG) (15.12.2025)
Fig.2.5. Final Font Presentation #4 (JPEG) (15.12.2025)
Fig.2.6. Final Font Presentation #5 (JPEG)
(15.12.2025)
Font Application
Fig.2.7. Final Font Application #1 (JPEG)
(16.12.2025)
Fig.2.8. Final Font Application #2 (JPEG)
(16.12.2025)
Fig.2.9. Final Font Application #3 (JPEG)
(16.12.2025)
Fig.2.10. Final Font Application #4
(JPEG) (16.12.2025)
Fig.2.11 Final Font Application #5
(JPEG) (16.12.2025)
Fig.2.12 Final Font Typeface (PDF) (07.12.2025)
Fig.2.13. Final compilation Font Presentation (PDF) (16.12.2025)
Fig.2.14. Final compilation Font Application (PDF) (16.12.2025)
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FEEDBACK
Week 9:
General feedback: You have to align your designs based on the
brief in the module, whether it falls under a problem, experiment, or
expansion.
Specific feedback: Make sure to articulate the purpose of your
idea, which falls under experimentation so that the purpose is
communicated well.
Week 10:
General Feedback: make sure the artwork and letterforms are the
same size and stay consistent, follow the video if forgotten about how
to do letterforms
Specific Feedback: have to keep up with time management and
finish the uppercase. Not really sure if the concept works but can
move forward
Week 11:
General Feedback: Punctuations
must be clean and clear. Follow the tutorial how to do the
kerning. Not all letterforms need it. Straight and curve needs
kerning.
Specific Feedback: Make sure
the lines are clean. Show the process of the letterforms and numbers.
Week 12:
General Feedback: Punctuations
must be clean and clear. They’re not tiny but actually big when
next to the letters.
Specific Feedback: Focus on the
Font presentation and application first as fontlab is not able to
export the typeface.
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REFLECTION
Experience:
This task had given me the freedom to choose one out of three ideas, and I had the liberty and fun experience to do an experimentation. Although there were some technical difficulties, throughout this task I felt that it has given me quite an exciting journey. There were some stressful moments, some disappointments and some surprises and unexpectedness. All in all, I felt my focus for this task starts to engage into a level I didn't know I could achieve when trying to complete it. Which was a shocker so to speak. I had some moments of encouragement, moments of quitting, and moments of pure sheer willpower to finish this task. I had to say this typography task had unlocked something within me that was kept hidden since longer than I can remember, and I am quite thankful for it.
Observation:
During this task I've seen some few things that I did not notice before. Like punctuations for example. It is a fact that punctuations tend to be quite big, rather than small when making it as a font. As for ({[|_, and ; they all tend to be over the baseline and near the descender. When sketching out the letterforms I notice that M and W are not the same for some typeface, like mine. But letters like N and Z are quite the same. I tried many different font software into creating my typeface, fontlab is the one that can easily retrace all my vectors as its original form.
Findings:
This task had taught me many things about font, letterforms, and punctuations that I seemed to forget in the previous module. I find that punctuations are easier to work with if your design is simple, although simple is still not easy. Letterforms does not necessarily need to be both lowercase and uppercase, and in my case, I sticked to unicase with the caps. With the help of my seniors, they had advised me to stick with the uppercase, as the lowercase might lose the details or will be too messy and all over the place. As for the punctuations, a lot of people advised to keep it clean, simple, and neat. Easy to read, easy to distinguish. And I found a way to keep it artistic and also neat and distinguishable. All in all, with many more of these journeys in the future, I hope I can gain more knowledge and have fun alongside it.
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FURTHER READING
For this task, I used visual learning and insights from previous students:
Fig.3.1. Alphabook - Typeface design & application by Roger Walton 1999
This book shows a display of various experimental innovative typefaces (sect 1: display faces pg. 13 - 99) and bold text typefaces (sect 2: type and display faces pg.100 - 185).
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