Advanced Typography - Task 3: Type Exploration and Application
Miao Xinjun / 0379525
Advanced Typography / Bachelor of Design in Creative Media / Taylor's University
Task 3: Type Exploration and Application
TABLE OF CONTENT
1. Lecture
2. Instruction
3. Task
4. Feedback
5. Reflection
1. LECTURE
Lectures 1-3 are documented in Task 1 / Exercise
Lecture 4-5 are ducemented in Task 2A & 2B / Key Artwork & Collateral
2. INSTRUCTION
3. TASK
In task 3, we need to design a complete font to solve an existing problem. It needs to be applicable in a specific scenario, possess some functionality, or undergo a necessary redesign of a flawed font.
3.1 Research and Ideation
For this task, I proposed three ideas:
Idea 1: Hilton Hotel Logo Theme Font Design
Problem: Hilton Hotels and its subsidiaries each have their own font system. However, while the font systems used by Hilton Hotels and its subsidiaries maintain a unified style, the font families they contain are not consistent, resulting in a complex overall font system across different subsidiaries. Even within the Hilton Hotels sector, the fonts used on room keys, signs, etc., are different, thus lacking brand recognition, and guests do not have a consistent and lasting impression of the hotel's font. They need a font that symbolizes the Hilton Hotel brand, is memorable for guests, and is applicable in any context.
What I want to do:
Based on Hilton Hotels' elegant, retro font style and incorporating its logo characteristics, design a font that symbolizes Hilton Hotels, is easily recognizable, and is legible and readable.
Idea 2: Typography Installation Design
Problem to be Solved: Many outdoor gatherings, tours, and outdoor events often use large screens or long posters to display their event themes and content, attracting customers and promoting their brand. However, this requires dedicated staff to carry these media, which is inconvenient for event organizers who need to change locations frequently. Furthermore, they are difficult to notice at night. They need a better medium to effectively promote their event.
What I Want to do:
A solid, three-dimensional model made of clay or metal, approximately 5-10 cubic centimeters in size. Its function is to project different patterns and text in its shadow when light shines on it from different angles. It is not only easy to carry outdoors, but even at night, it can clearly project text and patterns with a light source such as a flashlight. This satisfies the promotional needs of event organizers and can also be sold as a product, strengthening brand awareness.
Idea 3: Typography Improvement and Redesign
Problem: Comic Sans is a commonly used font, often used in children's content or informal announcements, posters, etc. However, the font's letterforms are inconsistent, and the proportions are chaotic, making it completely lacking in credibility in professional settings.
What I want to do:
Build on the existing "handwritten, rounded, and approachable" feel of Comic Sans, but with more professional and consistent glyphs to enable better usability.
After receiving feedback from Mr. Vinord, the first and third ideas were deemed acceptable, and I ultimately chose the third idea as the content for my Task 3.
To better redesign this font, I have summarized its shortcomings and areas for improvement in more detail: Defect： 1. The overall image and feel of the font are too childish; the font structure is not rigorous, and its usage is very limited. As one of the built-in fonts of Windows, when used in resumes, notices, and commercial advertisements, it makes the work look unprofessional, resulting in resumes, notices, or advertisements using Cosmic Sans appearing unprofessional. 2. Unstable letter spacing and layout. Inconsistent letter spacing leads to visual disharmony in many letter combinations, with inconsistent spacing and a chaotic rhythm, resulting in low readability and legibility. Improvement Directions:
When redesigning this font, we can retain its friendly and cute feel, suitable for children's content. On this basis, we can improve the loose character structure, inconsistent letter spacing, and poor readability, making the redesigned font applicable in more situations and possessing the necessary professionalism.
3.2 Sketches and Digital Work
As mentioned above, I needed to redesign Comic Sans while retaining its endearing and charming qualities, addressing its shortcomings. This was a task that required repeated thought and attempts for me.
To better improve and redesign Comic Sans, I found some fonts on Pinterest that were similar in style to Comic Sans and had more rigorous letterforms and kerning as references.
Fig 3.2.1 Reference for Comic Sans Redesign (PDF) / 20.11.2025 (week9)
I chose to write a draft before using AI to digitize the font.
One of the drawbacks of the font Comic Sans is its inconsistent and rigid glyphs and letter structure. This was the first problem I noticed and tried to solve during the redesign.
These subtle errors in glyphs and font structure are one of the reasons why Comic Sans needed a redesign. To avoid making the same mistakes, I used the Roman regular font as a reference.
In addition, in order to retain the cute, childlike style of the original Comic Sans font, I decided to change the sharp corners of the original font to rounded corners during the redesign, creating a font without sharp corners. This will make readers feel more comfortable with the details, and details are always very important.
When drafting the letter A, I tried extending the horizontal stroke in the middle of the A outwards, beyond the diagonal stroke on the left. The effect seemed quite good, adding a fun little creative touch to the otherwise formal and regular font.
My reasoning is that the original font, Comic Sans, derives its approachable quality primarily from its stroke and handwritten feel. However, in my redesign, I didn't use the original font's wavy outer contour of the stroke; instead, I used the stroke with a flat outer contour. Furthermore, to make the redesigned font's shape and structure sufficiently formal and usable in more contexts, I completely altered the original font's shape, making it more regular. Based on these two reasons, I needed to add a touch of creativity to the redesign to maintain the font's friendly character while retaining its playful and charming style.
Based on the above ideas, and adhering to the principle of maintaining overall font style consistency, I completed the drafts of the uppercase and lowercase letters.
After completing all the drafts, I began to focus on the details of each letter, specifically their rounded corners. I realized that using rounded corners with different curvatures at different parts of the letter structure can enhance the visual effect of the font and make the overall shape of the font look more regular.
After several attempts, I decided on three different sizes of perfect circles to accommodate the different structural joints of various letters. I placed perfect circles with different curvatures at the joints of the different letter structures they were suited for, and then used the current state generator tool in Adobe Illustrator to complete the final refinement of the glyphs.
Generally, when dealing with letters whose uppercase and lowercase letters have the same structure (e.g., K and k), I tend to create rounded corners with consistent curvature at the joints of the same structure. When a letter has different uppercase and lowercase structures (e.g., E and e), I will set different rounded corners based on the specific situation and the structural characteristics of the letter.
I've always believed that rounded corners are meant to make the letterforms look more approachable and easier to read, not to obscure the structure of the font. Therefore, I use larger rounded corners for letter structures with larger angles, and smaller rounded corners for letter structures with smaller angles that are not very distinct to begin with. Of course, in either case, the radius of any rounded corner is not exaggerated.
3.3 Digital Work and Presentation
Final Task 3 Submission:
4. FEEDBACK
Week 9:
General Feedback:
The requirements for Task 3 need to be reviewed again, and the purpose of designing a font needs to be clarified.
Specific Feedback:
1. First time: In the idea presentation on the slides, I clearly stated what kind of font I wanted to design, but the problem was that I didn't understand the purpose of designing such a font. Clearly defining the purpose of designing a font is crucial!
2. Second time: The first idea of designing a Hilton hotel-themed font might be worth considering, but caution is advised; when incorporating the Hilton hotel logo, only use a portion of the logo's features. The second idea of an installation font design is not advisable. The third idea for redesigning the Comic Sans font is acceptable. A choice can be made between the first and third ideas.
Week 10:
General Feedback:
Continue working on the uppercase letters in Illustrator.
Specific Feedback:
1. The final draft is fine, but the uppercase letters need to be digitized using Illustrator.
2. You can decide the font size for the secondary design yourself.
Week 11:
General Feedback:
Continue to complete the task.
Specific Feedback:
The strokes for punctuation marks look too thin and clash with the overall style of the font; they need to be adjusted.
Week 12:
General Feedback:
The issue mentioned last week has not been fully resolved, but everything else is okay.
Specific Feedback:
Always maintain a consistent overall style in the redesigned Comic Sans font. The stroke width of the punctuation marks still appears relatively thin compared to the overall letter group and needs to be bolded.
Week 13:
General Feedback:
The issues raised in the previous feedback still exist. Please remember to complete the task on time.
Specific Feedback:
Note the size of the double quotes; the distance between the two symbols inside the double quotes must be equal to the width of the stroke.
5. REFLECTION
Experience:
Observations:
Findings:
6. FURTHER READING
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