For Task 3, we were asked to develop a font by choosing one of the following directions:
Create a font that addresses a broader problem or acts as part of a solution within your area of interest.
Explore existing letterforms related to your chosen area.
Develop an experimental type design.
From the options provided, we were required to present a proposal outlining our ideas based on the selected direction. Below is my proposal presentation:
From the options provided, I have chosen to explore experimental type design inspired by the prasasti of the Majapahit era, written in Aksara Kawi. This proposal outlines my initial concept and design direction. Below, I present the key ideas and intentions that will guide the development of my typeface.
Research/ References
For my research, I studied Aksara Kawi and scripts from the Majapahit era as both visual and cultural references. I was particularly drawn to their bold, structured letterforms, which informed the direction of my type design. This was especially relevant as my wordmark is built on a rectangular and geometric foundation.
After finalizing the initial letterform concept, I proceeded with a rough structural sketch of my uppercase characters.
Fig 1.2 Sketch, Week 9 (17/06/2025).Jpeg
Rough digitization
After completing the sketch, I began the rough digitization process in Adobe Illustrator. I started by setting up a grid to maintain consistency, then used a combination of the Pen Tool, Brush Tool, and Shape Tool to construct the letterforms.
I also explored several variations for the letters O, A, R, S, V, J, N, G, Y, H, U, and Z to experiment with different structural possibilities and refine their overall form.
In Week 10, Mr. Vinod provided me with feedback and suggested some key adjustments. He pointed out that my line and letter spacing were too tight and needed more breathing room. He also recommended that my letterforms should appear sharper rather than rounded.
Based on this feedback, I immediately began refining my letters to improve spacing and adjust the overall shape and sharpness of the forms.
To ensure consistency, I used colored blocks to adjust the sizing and spacing between each letterform. I applied this method to all the letters. Additionally, I created a grid system to guide me throughout the digitization process and maintain structural balance.
Fig 1.7 Grid System, Week 10 (24/06/2025).Jpeg
To maintain a consistent diagonal angle across the counter shapes, I adjusted the angle using the stroke tool with a fixed angle. After that, I adjusted the sharpness using the shape tool and the pen tool to make the shape more precise.
Additionally, I also changed the height of the line elements to avoid confusion, especially so that the letter “I” can be clearly distinguished. I also adjusted the spacing between the lines and increased the thickness of the stroke in the center to maintain the original design. Once all adjustments were complete, I saved the stroke as a fixed-width profile so it could be reused in other letter counter shapes.
I repeated the same process for each lowercase letter, adjusting the counter shapes as needed. Using the Pen Tool, Brush Tool, and Shape Tool, I refined each form by rounding corners and adjusting proportions. I also used Yeseva One as a font reference throughout the design. Below is the vertical step-by-step process from sketch to final version for each letter.
Fig 1.10 Lowercase Letter Structure Overview, Week 11 (01/07/2025).Jpeg
I struggled the most when designing the uppercase letters G, J, V, O, and Q because their forms were quite challenging and needed adjustments to maintain good readability. For the lowercase letters, I found it difficult to create b and a, especially in keeping their shapes and proportions consistent with the rest of the typeface.
For numerals and punctuation, I used the same techniques: the pen tool, shape tool, and brush tool.
I encountered several difficulties while creating numerals. First, I was figuring out how to create numbers that were alphabetic. Second, sometimes the shapes of my numerals were inconsistent, which slowed me down. However, with a lot of research and help, I was able to do it well.
In my opinion, the number two was one of the most difficult numerals to design. I had to experiment with several variations before finding the one that felt right and matched the overall style of the typeface.
Fig 1.14 Number two variation, Week 11 (01/07/2025).Jpeg
Next I did the punctuation, for the punctuation itself I didn't have much difficulty doing it, but only "@" I had difficulty making the punctuation. I used a reference font to create the height and size of the punctuation, so that it looks right when used.
Once the digitization was complete, I moved on to building the font in FontLab 8. After installing and setting up the software, I began importing my letterforms into the program to start the font development process.
Importing letterform
Before importing the letterforms into FontLab, I first merged each one using the Pathfinder tool in Adobe Illustrator to ensure they were clean and unified shapes.
Once that was done, I imported all the finalized letterforms into FontLab to begin the font-building process.
After importing the letterforms, I adjusted the ascender, descender, x-height, and other key measurements to match the dimensions required for my typeface. This helped ensure consistency and proper alignment across all characters.
Fig 3.2 Adjusting Font Family Dimesions,Week 11 (05/07/2025).Jpeg
After completing the adjustments, I began placing each letterform into FontLab one by one, carefully positioning them within the designated character slots.
After importing all the letterforms, I noticed that several characters still needed refinement. I made corrections to the curves and shapes using both Adobe Illustrator and FontLab to ensure better consistency and smoothness across the typeface.
Once I had finished entering and arranging each letterform, numeral, and punctuation mark, I began the kerning process. For this, I followed the kerning guides provided by Mr. Vinod, which included both uppercase and lowercase pairing references to help ensure balanced spacing throughout the typeface.
After reviewing the guide, I began the kerning process. Although I faced some difficulties along the way, I was able to kern the letterforms, numerals, and punctuation through trial and error. Since there was no specific guide for numerals and punctuation, I relied on visual judgment to adjust their spacing and maintain consistency with the overall typeface.
Before I started creating my presentation font, the first thing I did was develop a color palette. I chose to do this to ensure visual consistency throughout the presentation. Having a defined palette helped guide the overall tone and made sure that all elements felt cohesive.
Fig 4.1 Color Pallete, Week 12 (08/07/2025).Jpeg
First attempt 1#
For my first attempt at presentation, I researched different ways to showcase a typeface. Since my font was inspired by the Kawi script, my initial idea was to present it using a batik karang style. However, as I progressed, I began adjusting the presentation to better reflect a historical atmosphere—one that captures the cultural essence and spirit of the past.
Fig 4.2 First Attempt 1#, Week 12 (08/07/2025).Jpeg
First attempt 2#
I wasn’t fully satisfied with my first attempt, so I explored a few more presentation styles. In my second attempt, I focused more on texture—aiming to incorporate elements like old canvas, aged paper, or stone to evoke a historical feeling.
To further capture the essence of the Majapahit Kingdom, I also paid close attention to the layout, aiming to create a visual storyline that could guide viewers through the presentation of the font.
Fig 4.2 First Attempt 2#, Week 12 (08/07/2025).Jpeg
After receiving valuable input and feedback from Mr. Vinod, I was able to complete my third and final presentation attempt. This time, I focused more on how to clearly communicate the story behind the font. I added more visual descriptions to show its possible applications and incorporated textures to enhance its historical and cultural essence.
Fig 4.3 First Attempt 3#, Week 12 (08/07/2025).Jpeg
The ones I marked with circles indicate my final selections. I chose these based on their visual strength, consistency, and how well they aligned with the overall concept of the typeface. These options best captured the historical tone and design direction I was aiming for.
Fig 4.4 Final Selection, Week 12 (08/07/2025).Jpeg
Texture that I used
For the visual presentation, I used paper textures and applied additional textures using the Texturizer effect in Adobe Illustrator. This helped enhance the historical feel of the font and gave the overall presentation a more aged, tactile look that aligns with the cultural inspiration behind the typeface.
Fig 4.5 Texture Font Presentation, Week 12 (08/07/2025).Jpeg
Finalized Font Presentation artworks
Fig 4.5 Font Presentation 1, Week 12 (08/07/2025).Jpeg
Fig 4.6 Font Presentation 2, Week 12 (08/07/2025).Jpeg
Fig 4.7 Font Presentation 3, Week 12 (08/07/2025).Jpeg
Fig 4.8 Font Presentation 4, Week 12 (08/07/2025).Jpeg
Fig 4.9 Font Presentation 5, Week 12 (08/07/2025).Jpeg
Task 3(C)-Font Application
Honor Application Standby
The Standby project included both a clock template design and a personalized signature template design.
We were required to develop the following components:
Clock Design
Personalized Signature Design
Overall Visual Design
Animation Design
I began by creating my first layout attempt. In this stage, I focused on adjusting the composition to find a balance between the Standby concept and the historical narrative behind the font.
My goal was to make the design feel more aligned with the Standby theme, while still preserving the essence and story of the past. This first attempt was a starting point :
Fig 5.1 Font Application Standby Attempt 1, Week 12 (12/07/2025).Jpeg
Since I was still not fully satisfied with the initial layout and design, I continued making several adjustments. After refining the composition and visuals, I was finally able to develop a Standby visual design that felt more resolved and aligned with my concept.
Fig 5.2 Font Application Standby Attempt 2, Week 12 (12/07/2025).Jpeg
Texture that I used
The texture I used was inspired by stamp paper splashes to help evoke the Standby characteristics set in the late 1350s. This gave the design a worn, aged feel that connects to the historical context.
Additionally, I applied the Texturizer effect in Adobe Illustrator to certain elements, using textures that resembled stone or wood. These textures were chosen to reinforce the impression that the visuals belonged to a past era, enhancing the overall atmosphere and storytelling of the design.
Fig 5.3 Font Application Standby Attempt 2, Week 12 (12/07/2025).Jpeg
Adjustment
After applying the textures, I made further adjustments to tidy up all the elements and ensure visual consistency throughout the design. This step helped unify the composition and maintain a balanced, cohesive look.
Fig 5.4 Font Application Adjustment, Week 12 (12/07/2025).Jpeg
Standby Animation
I began working on the final Honor application: the animation. I created the animation in Adobe After Effects, using basic transform properties such as position and layering. Specifically, I animated the clock by shifting it downward to create a smooth and dynamic visual transition.
Fig 5.6 Screen Shot Problem Honor, Week 12 (12/07/2025).Jpeg
Due to ongoing technical issues with the Honor website, we were unable to successfully upload our Honor application. Additionally, the standby category, which we initially intended to select, has since disappeared from the website. Despite multiple attempts and troubleshooting, the upload process consistently failed. As a result, I am submitting this written explanation to clarify the situation and ensure transparency regarding the difficulties encountered with the Honor website.
Mock Up Application
I started looking for suitable mockups to showcase my application font. When I examined the style and character of my font, I felt it would be well-suited for coffee packaging and café banners.
This idea was inspired by Java’s rich heritage, especially its association with Arabica and Robusta coffee. To support this direction, I began researching visual references and branding styles.
Sketch
After that, I created sketches to plan the layout for both the coffee banner and the coffee packaging mockups. These sketches helped me visualize how my font could be applied in a real-world context and guided the overall design direction.
After finalizing the adjustments in Illustrator, I imported the design into Photoshop to enhance the overall atmosphere. I focused on color adjustments, curves, and hue/saturation to bring out a stronger sense of Java capturing its warmth, richness, and cultural tone through the visual treatment.
After completing the coffee packaging design, I continued with the café banner layout. I chose the sketch I felt best represented my concept, then developed the layout in Adobe Illustrator.
During the process, I made several adjustments to the composition, ensuring everything looked clean, balanced, and visually connected with the Java-inspired theme.
In Photoshop, I adjusted the color and curves to enhance the overall mood of the design. I shifted the color tones toward a warm yellow to create a nostalgic atmosphere, reminiscent of a café from the past. I also created a mockup using the Distort tool to integrate the design into a more realistic setting, giving it a sense of depth and context.
After Submission, I realized I still lack of understandibility in using Photohop, unfortunately it doesn'tblend well. However, I ask my friend and learn more by watching tutorial video as it help me gain better understand of using the software. Here's my latest attempt trying to create a more comprehensive mocukp that can be learn and explored further in my upcoming proects.
Fig 7.21 Font Application Honor PDF,Week 13 (14/07/2025).PDF
FEEDBACK
Week 9
Specific Feedback:
When Mr. Vinod reviewed my proposal, he said that Idea 1 was interesting but would be challenging to execute. His feedback made me realize the importance of planning ahead and thinking through how to make the idea more practical and achievable.
General Feedback:
He check our blogger, he said that used a good color background, puts jumplinks, its not compulsory if you dont have the table of content. Make the layout neat.
Week 10
General Feedback :
Mr. Vinod provided constructive feedback this week, emphasizing the importance of refining our work to achieve a cleaner and more polished presentation. He highlighted that attention to detail—such as proper alignment, spacing, and consistency, not only enhances the visual appeal but also strengthens the clarity of our communication.
Specific Feedback :
Mr. Vinod commented on my font design, advising me to adjust the spacing between the lines to make it neater. He pointed out that the lines were too close to each other, which affected the overall readability and visual balance. His feedback reminded me of the importance of maintaining proper spacing to ensure clarity and a more refined appearance in typography.
Week 11
General Feedback :
Mr. Vinod also mentioned that when creating punctuation marks, it’s important to refer to the height and proportions of the existing letterforms. Using consistent references helps maintain harmony and ensures the punctuation integrates well with the overall typeface design.
Specific Feedback :
Mr. Vinod reviewed my font and mentioned that everything is already in good shape. He gave me the approval to proceed with the next steps, which gave me confidence that the overall structure and design direction are on the right track.
Week 12General Feedback:
Mr. Vinod also explained the importance of font application and presentation. He outlined what we need to prepare and the key elements that shouldbe included, helping us understand how to effectively showcase our typeface in real-world contexts. His guidance gave us a clearer direction on how to present our final work professionally and purposefully.
Specific Feedback :
Mr. Vinod advised that my font presentation should be more minimalistic while still maintaining a sense of fun and creativity. He emphasized the importance of balancing simplicity with engaging elements to ensure the presentation remains both professional and visually interesting.
REFLECTION
Experience
Through the final project, I felt delight and struggle. I had made a font once in my first semester, but this was my first time getting into the deep dive exploration and application of type. This was also my first time turning a cultural reference into a typeface I based mine on Aksara Kawi. I struggled to land on an idea, and I had too many sketches and direction I wanted to pursue. A majority of my struggle during this project lay in the idea development phase and the font presentation and applications. I spent so much time trying to figure out how to visualize the concept while incorporating the cultural elements.
Observations
From the beginning of this final project to the end, I spent a fair amount of time doing research - not only on Aksara Kawi itself, but also on its historical, cultural, and symbolism around being a script. I looked at old inscriptions, examined ancient stone carvings and attempted to understand how language and culture visually translated then. It made me have a deeper understanding of how even letterforms can carry so much weight of meaning.
Alongside the research that referenced my cultural background, I also closely observed the way my classmates were approaching their projects. I was interested in how they took the ideas they had translated into visuals, how each person developed their presentations, and how they approached technical barriers. This was valuable in showing me how different processes can manifest in creative practices. I found the assignments given to be a good mixture of instruction and inspiration, everyone has a different way of solving design challenges and seeing their processes was an opportunity to reflect on my strengths and weaknesses and reminded me that design does not exist solely around its final moments but about how carefully we arrive at these moments.
Findings
Through this project, I learned that there is more to creating a font than just making shapes to represent the letters. Each stroke and curve tell a story. I learned that good typefaces are designed on proper research, well-defined concepts, and purpose-directed decisions. One major lesson was about cultural source material, and that designers need to be careful that they are not appropriating visual styles, rather they are attempting to design with the values, spirit, and identity of the culture in mind, and applying this to new form in useable typography. Overall throughout this task I learn alot of something new especially I learn more about photoshop with the help of my friends.
FURTHER READING
Fig 8.1 Thinking With Typeby ellen Lupton (2010)
Fig 8.2 Font Grid, Week 9(P.P123)
1. Context and Background
The New Typography was published by Jan Tschichold in 1928.
It translated avant-garde ideas (Futurism, Constructivism, De Stijl) into usable design systems.
Aimed at practical application in commercial printing and graphic design.
Focused on visual clarity, order, and functionality rather than decoration.
2. Design Philosophy
Broke away from traditional, symmetrical layouts commonly used in classical design.
While movements like Dada and Futurism rejected order in favor of chaos, Tschichold pushed for structure and discipline.
Believed modern design should be purposeful and logical, not just expressive.
Advocated for using standardized measurements and modular systems.
3. The Grid as a Tool
Promoted the use of a grid to create visual harmony and structure.
The grid allowed for content to expand across the page without relying on centering.
Helped align type, images, and other elements in a consistent, readable way.
Encouraged clear hierarchy and better control of space and proportions.
4. Diagram Analysis
The left-hand example (with red X) shows a poor layout:
Rigid centering of images.
Text awkwardly wraps around blocks.
Lacks flow and feels forced.
The right-hand example shows improved layout:
Images are staggered and integrated more naturally.
Text flows smoothly around images.
Reflects functional and thoughtful page structure.
Fig 8.3 Font Grid Web Layouts, Week 10(P.P 131)
1. Problem with Visually-Driven Web Layouts
Many designers create web layouts using complex tables and cells that don’t align with logical data structures.
These layouts are often based on visual appearance, not meaningful structure.
This can lead to confusing and inaccessible designs, especially for screen readers and users with impairments.
2. Accessibility and Screen Readers
Screen readers convert digital text into audio—reading content cell by cell, row by row.
Complex table-based layouts create barriers for this kind of translation.
Accessibility experts recommend designers to:
“Think in linear terms”
Design so that content reads in a clear, continuous sequence
3. Importance of Linear Thinking
Designing for linearity benefits:
Visually impaired users
Users of older browsers or text-only browsers
People using phones, hand-held devices, or screen-limited technology
Emphasizes the need to prioritize content flow and readability, especially in restricted or non-visual environments.
Fig 8.4 Golden Section, Week 11(P.P 138)
1. What is the Golden Section?
The golden section (also called the golden ratio) is a mathematical ratio used for centuries in Western art, architecture, and design.
It represents a proportion where:
a : b = b : (a + b)
Numerically, this ratio is approximately 1 : 1.618.
2. Concept of Proportional Harmony
The ratio describes how two unequal parts relate to each other:
The smaller part (b) relates to the larger part (a) as the larger part relates to the whole (a + b).
This creates a sense of balance and harmony that is considered naturally pleasing to the eye.
3. Visual Characteristics
When you remove a square from a golden rectangle, the remaining area forms another smaller golden rectangle.
This process can be repeated to form a spiral—a structure often seen in nature (e.g., shells, plants).
This self-repeating proportion is one reason the golden section is admired in visual design.
4. Use in Graphic Design
Some designers use the golden section to build grids, structure page formats, and determine layout proportions.
It has historically influenced book design, artworks, and architecture.
Entire books have been dedicated to using the golden section as a guiding principle for layout and design.
Fig 8.5 Golden Section & Ratio, Week 12(P.P 139)
The Golden Section (or Golden Ratio) as a fundamental principle for creating visually harmonious and balanced layouts in both print and web design.
In Print: The concept of the "golden rectangle" is applied to the dimensions of text blocks. Examples are shown for standard U.S. (8.5 x 11 inches) and European A4 (210 x 297 mm) paper sizes, where the text areas are proportioned according to the golden ratio. It also notes that commercial printing often results in page sizes that contain multiple golden rectangles within their final dimensions, suggesting an underlying geometric order.
In Web Design: The golden section is equally relevant for digital interfaces. A diagram illustrates how a typical webpage (e.g., 1024 x 800 pixels) can be divided into distinct content areas (like logo, global navigation, local navigation, main content, and subcontent) using golden section proportions. This approach aims to create a layout that is intuitively pleasing and easy for the eye to navigate, often referred to as a "design for the eye."
Essentially, the Golden Section provides a mathematical framework for achieving aesthetic balance and optimal hierarchy in both traditional and digital design layouts.
Design Principles - Task 2: Visual Analysis & Ideation 17/02/2025- 03/03/2025 / Week 3 – Week 5 Valenz Jycee Primadi / 0373407 Design Principles /Creative Media/ School of design Task 2 : Visual Analysis & Ideation TABLE OF CONTENTS 1. Lectures 2. Instructions 3. Task : 2 Visual Analysis 4. Task : 2 Three Idea Sketches 5. Feedback 6. Reflection LECTURES What is Visual Analysis? Visual analysis is a design method for understanding and interpreting works of art or design by observing the visual elements used, for example, observing elements of color, shape, line, texture, space, and composition. Visual analysis is used to explore the meaning and function and also the message you want to convey to the audience. St...
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