Advanced Typography | Task 3 | Type Exploration and Application

16.06.2025 - 00.00.2025 ( Week 09 &  )

Taylor's University

Shubashini a/p Subramaniam / 0367697 / Bachelor of Design (Hons) in Creative Media/ 

Advanced Typography (GCD61004)

Task 3 - ( Type Exploration and Application )

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Table of Content :

1. Lectures

2. Module Information Booklet

3. Task 3

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Lectures

For Other Lectures, please refer to Task 1 Blog: Lectures

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Module Information Booklet :

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Task 3

In task 3, we were instructed to create a font based on the three options given: 

1. Create a New Font: Design a font that solves a problem or contributes to a solution in your area of interest (graphic design, animation, etc.). Deliverable: a complete font (.ttf) with applications.
2. Improve an Existing Letterform: Study an existing letterform, identify improvements, and create a new version. Deliverable: a complete font (.ttf) with applications.
3. Experiment: Conduct a unique experiment with typography (e.g., 3D materials, digital augmentation, edible materials, etc.). Deliverable: defined by the student. 

Our final product should be a complete generated font (.ttf) with applications.

(Week 9)

We had to create 3 or more routes for us to take in a presentation format :

PDF :

My Idea consisted of :

1. Making a Font for Dyslexic People

2. Improving The Batman's Comic Font

3. Making a Mood Based Font to Help People show their Emotions

4. Rework on my font from Task 2

After presenting sir, mentioned I should go with number 1 since its my best option from the rest. He also asked me to see a blog written by an alumni as she also did a dyslexic font

I initially got the idea since I happen to have a friend who suffers from dyslexic and has trouble reading. This, I wanted to use a font common used in online reading platforms as a reference guide in the sizing and looks. 

I went with the font Lucida Fonts :

Figure 1, Lucida Font Variants,  Week 9

I also checked in with my friend on which letters does she font trouble reading, as dyslexia often  differs with each and every person. Sir also told me I could check if my font works with my friend, thus she became who this font was specially crafted after.

It was brought to me that she had trouble differentiating these :

 

Figure 2, Important details to take in while making the font,  Week 9

(Week 10)

For week 10, sir told us to finish up our Uppercase Letters and get his approval, but refering my research and notes I realised I had to do both in the same time a e\ach letter has too look somewhat unique so it's easy to differentiate. But it couldn't be too different that the letters look like they belong indifferent font groups.

Figure 3, How the first based was made, Week 10

I started making the fonts using the Lucida font as reference and wanter to have an thick and thin kind of build for my font. After creating the first alphabet. I used that as reference to start building up the rest.

Figure 4, Elements making up the Letters created in Illustrator, Week 10

The picture above shows the outlines of the elements I used to form the letters to make sure it all stays consistent. in terms of the thickness and thiness of the width.

Sir told me it's up to me if i want to make an Unicase font or not bince I already made the lowercase I decided to proceed with it.

(Week 11)

In week 11, I mainly brushed up my letters so it looks consistent and started working on my numbers.

Figure 5, Elements making up the Numbers created in Illustrator, Week 11

I was having a bit of trouble creating the different type of parenthesis

Figure 6, First variant of the parenthesis, Week 11

Figure 7, Second variant of the parenthesis, Week 11

After putting it together sir mentioned I should try placing words together, to see if its looks good with each other. The final review if anything is needed to be changed.

Figure 8, Testing out Uppercase, lowercase, numbers and punctuations together Week 11

Figure 9, Testing out Complicated word Week 11

(Week 12 & 13)

I started importing the fonts to Font Forge and started kerning and adjusting it's right and left side bearing to create an appropriate amount of space between the letters, numbers and punctuations. I watched a  youtube tutorial that made it really simple to follow it's instructions :

Figure 10, Screenshot of Youtube Vide Week 12

Youtube Link 

Figure 11, Setting up ascender, descender and baseline height in Fontforge Week 12

Figure 12, Adding kerning to the letters Week 12

Then after exporting it out, I started on creating the font presentation boards. I went researching what colours would be less straining on the eye to create an unofficial colour board for to reference when designing. I found out that the using the colour white s the background or the font colour itself can be quite damaging and hurtful to the eyes I came up with this :

Figure 13, Colour Palette, Week 13

I couldn't really do any type of design my font was derived not from any creative input. It was derived from an actual font to be improved and made more easy on the eyes for dyslexic people. But on the other hand I didn't want to alienate my font from decorative purposes.

I decided to make the first one a clear presentation of all the letters, punctuations and numbers :

Figure 13.1, Presentation Board 1, Week 13

The Second to a bit more playful and introduce the name of the font :

Figure 13.2, Presentation Board 2, Week 13

The Third to give slight explanation on how it helps make readable to dyslexic people :

Figure 13.3, Presentation Board 3, Week 13

The Fourth to be a bit of an artwork. To show people dyslexia cant be cured or sis something to be fixed :

Figure 13.4, Presentation Board 4, Week 13

The Last but not Least to be a Newspaper introducing this font to the people :

Figure 13.5, Presentation Board 5, Week 13

The next step was to create the Font Applications. Since this was a dyslexic font I want to showcase it being in a book, an advertising boards, marketing products, signs and a calender. I used Photoshop to create it and tried to follow my unofficial colour pallete.

Final Work Submission Task 3

 (Type Exploration and Application) :

Download Font :

https://drive.google.com/file/d/1pv71EXQE-ULvzAm5bIPmNXnfJeBuHBup/view?usp=drive_link

Uppercase, Lowercase, Numbers and Punctuations :

Figure 14, PDF Compilation of Uppercase, Lowercase, Numbers and Punctuations ( 13/07/2025)

Font Forge Screen Grab  :

Figure 10.2, Screen Grab of Font Made in Font Forge( 13/07/2025)

Five Font Presentation :

Figure 16.1,  Font Presentation 1 (13/07/2025)

Figure 16.2,  Font Presentation 2 (13/07/2025)

Figure 16.3,  Font Presentation 3 (13/07/2025)

Figure 16.4,  Font Presentation 4 (13/07/2025)

Figure 16.5,  Font Presentation 5 (13/07/2025)

Five Font Application :

Figure 17.1  Font Application 1 - Soda Cans (13/07/2025)

Figure 17.2  Font Application 2 - Desk Calender (13/07/2025)

Figure 17.3  Font Application 3 - Children Story Book (13/07/2025)

Figure 17.4  Font Application 4 - Road Sign (13/07/2025)

Figure 17.5  Font Application 5 - Advertising Board (13/07/2025)

PDF :

Figure 18,  PDF Compilation of Font Presentation Boards (13/07/2025)

Figure 19,  PDF Compilation of Font Application Boards (13/07/2025)

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Feedback

Week 9: 

General : We showed our proposal slides to sir and he helped us pick the must suitable one. He reminded us to use grids when creating our fonts.

Specific : Sir said I should go with my Dyslexic Font Idea since it seeems the most interesting. Since I know someone who had dyslexic he said to test the font with them and see if they find it readable or not.

Week 10: 

General :  Sir mentioned we have to finish our uppercase letterform by today in class and get his approval. 

Specific :  He mentioned my font is too stereotypical but I should continue on since I like it. He also mentioned its better if I stick with making it an unicase font since it's very readable already. He mentioned my number 0 was too big and similar looking to my O uppercase. He asked me to adjust my lowercase as  ' o s m e o f ' it doesn't haave the same consistensy as the rest.

Week 11: 

General :  Sir mentioned we have to finish our lowercase, number and punctutions today as we have to transfer it to FontLab by Next Week. He mentioned using other fonts as reference to the sizing of our punctuations and reminder to usse a 1000px height artboards

Specific : He asked me to fix my parrenthesis "()" as it didnt look like that and once I was done to show him. After showing he told me to start creating words to see how the font works and looks besides each other. 

Week 12: 

General : Absent 

Specific : Absent

Week 13: 

General :  

Specific : 

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Reflection

Experience:

Creating a font for dyslexic readers was both challenging and rewarding. It quickly became the most time-consuming project I’ve worked on. I underestimated how much effort would go into refining each letterform and ensuring readability. Managing kerning, alignment, and stroke consistency across the entire set was especially demanding. My time management wasn’t perfect, I often rushed to meet weekly deadlines, but I truly enjoyed applying the font across various design mediums. That part of the process felt more fluid and satisfying.

Observations:

Designing for dyslexia requires more than just creativity, it demands precision and user empathy. I noticed that even small differences in letter shapes can greatly affect readability. Fonts designed for accessibility need to remain functional across platforms, whether in digital spaces, storybooks, or product labels. This project reminded me that typography isn’t just about how text looks, it influences how it’s understood and experienced.

Findings:

Through this project, I discovered that type design goes far beyond aesthetics. Designing for dyslexia required me to focus on functionality, avoiding symmetry that could confuse readers, emphasizing heavier descenders and ascenders, and distinguishing similar letterforms like "b" and "d" or "p" and "q." Simplification and clarity became essential without making the design look too plain or clinical.

I learned to rely on design software like Illustrator for shaping the forms and FontForge for technical refinement, such as kerning and baseline alignment. These tools helped ensure the font behaved consistently, whether in body text or display settings. One of the biggest challenges was maintaining equal stroke weight across both uppercase and lowercase letters, which taught me the importance of using grids and guides throughout the design process.

Above all, I’ve come to appreciate how even the smallest design flaw can disrupt the reading experience, especially for those with dyslexia. It takes immense patience, precision, and empathy to create a typeface that doesn’t just look good but works well for those who need it most.

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Further Reading :

Figure 20,  Cover of  design type (13/07/2025)

Reading Designing Type by Karen Cheng gave me a much clearer understanding of how letterforms are built and refined. The detailed breakdowns of each character helped me see the importance of structure, spacing, and consistency something I applied directly when creating my dyslexic font.

The side-by-side comparisons and visuals made the technical parts easier to grasp, and I appreciated how the book balanced theory with practical insight. It deepened my appreciation for type design and showed me how even small changes can impact readability and overall tone.

This book is definitely a resource I’ll keep revisiting as I continue designing fonts.

Figure 21,  Screenshot of The Website (13/07/2025)

https://kreatifbeats.com/2024/07/26/easyread-a-typeface-for-dyslexia/

The article offers a clear and thoughtful look into designing a dyslexia-friendly font. I appreciated how the writer grounded their design in research, especially the study that found Verdana more effective than OpenDyslexic. The process from initial drafts to the final font showed real growth, especially in how confusing letterforms like b, d, and p were refined.

The technical aspects, like kerning and using FontLab, were well explained without being overwhelming. I also liked the use of soft pastel colours in the final presentation subtle but meaningful for accessibility. Overall, it’s an insightful read for anyone interested in inclusive type design.