Advanced Typography: Task 3 Type Exploration & Application

Independent Learning Week
The session this week was held online through Zoom. Mr. Vinod reviewed our progress on Task 2 and afterward introduced the requirements for the final assignment, Task 3.

Week 9

Lecture 9
During this week, Mr. Vinod discussed ideas for our final project and allowed us to choose the direction we wanted to take for Task 3.

Week 10

Lecture 10
We received feedback regarding the design of our uppercase letters. After that, we continued refining lowercase characters and started adding punctuation to complete the typeface.

Week 11

Lecture 11
Mr. Vinod commented on the adjustments we made to our lowercase (or unicase) letters. We then began transferring the typeface into FontLab, focusing on letterspacing and kerning. He reminded us to document the process in Illustrator and upload it to the e-portfolio. Additionally, he mentioned the HONOR competition, where we need to design a clock interface using our custom font.

Week 12

Lecture 12
This week we continued developing our final project. Mr. Vinod approved starting the font presentation and suggested working on font applications for the e-portfolio.

Week 13

Lecture 13
The final submission took place this week. Mr. Vinod reviewed our completed work, and we were required to submit the finished project by the end of the lecture.

TASK 3 : Type Exploration & Application

Instruction:
Create a fully developed font (.ttf file) and demonstrate its practical application.

You can choose one of the following options:

1. Create a New Font

Design a brand new font that solves a problem or contributes to a solution in a field you're interested in — such as:

graphic design
animation
new media
entertainment design
or any other related area (it doesn’t have to reflect your exact specialization)

2. Improve an Existing Letterform

Choose an existing typeface or letterform:

Study how it’s currently used
Identify its weaknesses or areas for improvement
Develop new forms, solutions, or combinations that add value and enhance its impact

3. Experimental Approach

Create something innovative and unique. For example:

A font made from 3D materials
An augmented reality font
An edible font
A typographic music video
A fine art piece involving type

Final Outcome:

You define what the final output will be — it could be:

A working font showcased in posters,
UI mockups,
A website design,
A motion graphic, etc.

3.1 Proposal

Task 3 Final Project Proposal Task 3 Final Project Proposal by BEGIMBAEVA AIDINA

For this task, I chose Option 1: “Parisian Charm” – Typeface Inspired by the Emily in Paris Poster.

The decision to work with this concept was based on my interest in elegant, high-contrast serif typography, and my desire to explore how branding type can be expanded into a full, usable typeface. The Emily in Paris poster features a chic and modern serif typeface, but only limited uppercase characters are visible. This project aims to develop the missing lowercase letters, numerals, and punctuation to create a complete display typeface suitable for fashion branding, editorial design, and promotional materials.

References


Figure 3.1.1 Emily in Paris Poster / Week 9 (18/6/2025)

3.2 Development of Uppercase and Lowercase Letters

Before starting to build capital letters, I carefully studied the structure and features of the typography used in the Emily in Paris poster. I focused on the details of one of the letters — such as "E" or "A"— to understand the basic principles of font style: the ratio of stroke thicknesses, the shape of the serifs, the geometry of rounded elements, height and width, as well as the optical balance between the details. This gave me the basis to build a system that would be used to develop all the other capital letters.


Figure 3.2.1 Exploration on the letter / Week 9 (20/6/2025)

I also noticed the letter spacing, vertical axes, and proportions, which allowed for visual consistency between the letters. The study of one character became the starting point for creating a holistic and harmonious font system.

Figure 3.2.2 Grid Structure & Guides / Week 9 (21/6/2025)

Measurements:

Cap height: 700 pt
Cap height overshoot: 750 pt
X-height: 500 pt
Baseline: 0 pt
Baseline overshoot: -88 pt
Descender: -250 pt

After analyzing the shape and proportions of the letters, I started creating digital versions of capital letters in Adobe Illustrator. Special attention was paid to the high verticals, the contrast of strokes and the characteristic serifs. I tried to preserve the visual sophistication of the original, while ensuring a uniform style for the entire alphabet.

Figure 3.2.3 Uppercase Letters First Attempt / Week 10 (25/6/2025)

The most challenging part of this process was ensuring that all the letters were consistent in shape and proportion. It was difficult to make each character look visually balanced and harmonious with the rest of the typeface. Small differences in stroke thickness, height alignment, or spacing made the letters feel disconnected. I had to constantly adjust the curves, anchors, and spacing to maintain uniformity and visual rhythm. This required patience, close observation, and multiple refinements.

Figure 3.2.4 Checking letters / Week 10 (26/6/2025)

To ensure consistency in stroke thickness, I applied a method that Mr. Vinod had previously shown us. I created a square with a fixed size and used it as a reference tool to check and compare the thickness of each letter's vertical and horizontal strokes. This helped me maintain uniformity across all characters and quickly spot any inconsistencies. It was a simple yet effective technique that made a big difference in the overall balance and professionalism of the typeface.

Figure 3.2.5 Strokes & Guides Review/ Week 10 (26/6/2025)

Mr. Vinod reviewed my type design and mentioned that the concept and execution were strong. However, he advised me to check if a similar font already existed online. After researching on Google, I discovered that a very similar typeface was already available — but only in uppercase letters.

To make my project more original and valuable, Mr. Vinod suggested that I continue developing the lowercase characters, since the existing font lacked them. This way, I could still keep the visual identity of my original idea while contributing something new and complete. His suggestion helped me refocus my effort and move forward with confidence.

3.3 Lowercase Letters, Numbers and Punctuation Process Work

Figure 3.3.1 Strokes & Guides Review/ Week 10 (24/6/2025)

After receiving the suggestion from Mr. Vinod, I started working on the lowercase letters. I carefully studied the proportions, curves, and details to make sure they matched the overall style of the uppercase characters. My goal was to maintain visual harmony and consistency across the entire typeface. This stage required a lot of patience and precision, as lowercase letters often have more variation in form and rhythm compared to uppercase ones.

Figure 3.3.2 Strokes & Guides Review/ Week 10 (26/6/2025)

On the following week, Mr. Vinod gave me additional feedback. He pointed out that the uppercase and lowercase letters should have consistent width to improve the overall balance and alignment of the typeface. Based on his suggestion, I reviewed my letters and noticed some inconsistencies in width.

Figure 3.3.3 checking letters/ Week 10 (26/6/2025)

To fix this, I used the same square method I applied earlier — placing a fixed-size square next to each letter to check and adjust their width. This helped me ensure that both uppercase and lowercase letters maintained a unified and harmonious structure throughout the typeface.

While working on the adjustments, I realized that some of my lowercase letters had incorrect proportions — they didn’t align well with the uppercase letters or follow a consistent rhythm. The height, curves, or spacing of certain characters felt off when placed next to others.

Figure 3.3.4 Updated variations Week 10 (29/6/2025)

Once I identified this issue, I began refining the shapes and proportions of the lowercase letters. After making these adjustments, the typeface started to look much more balanced and cohesive. This process helped me understand how important proportion and internal consistency are in type design.

Figure 3.3.5 Updated variations Week 10 (29/6/2025)

After refining the proportions and widths, I moved on to the final step — merging the letter shapes. I carefully selected all the individual paths and used the Unite function in the Pathfinder tool to combine the shapes into one solid form per letter. This step was essential for preparing the typeface for export to FontLab and ensuring clean, error-free outlines.

Combining the shapes helped me remove any overlapping anchor points or unnecessary segments, which made the letters look cleaner and more polished.

Figure 3.3.6 Uppercase letters overview/ Week 10 (29/6/2025)

Figure 3.3.7 Strokes & Guides Review/ Week 10 (29/6/2025)

Figure 3.3.8 Lowercase letters overview/ Week 10 (29/6/2025)

Figure 3.3.9 Strokes & Guides Review/ Week 10 (29/6/2025)

After finishing the uppercase and lowercase letters, I moved onto working on the numbers and other symbols. I aimed to keep the same style and consistency across all elements to ensure a cohesive typeface.

Figure 3.3.10 Number / Week 10 (29/6/2025)

After completing the numbers and symbols, I reviewed the entire typeface to ensure consistency in style, proportion, and alignment. I made small adjustments to improve visual balance, spacing, and stroke harmony across all characters. This final stage was important to refine the typeface and prepare it for export and application.

Figure 3.3.11 Strokes & Guides Review/ Week 10 (29/6/2025)

Figure 3.3.11 Progression/ Week 10 (29/6/2025)

Final Typeface

Figure 3.3.12 Final Font Design / (Week 11, 2/7/2025)

Figure 3.3.13 Final Font Design - Strokes & Guides / (Week 11, 2/7/2025)

3.4 FontLab Process

When all the letters, numbers, and signs were ready, I started working in FontLab to assemble a full-fledged font. First, I exported all the characters from Illustrator and carefully inserted them into the appropriate Unicode slots. Then I aligned the glyphs to the baseline, checked the scale, and started adjusting the spacing. This stage was an important transition from graphics to a functional font. Despite the technical difficulties, he helped me better understand how fonts work "from the inside" and how to make them work correctly in a digital environment.

While working at FontLab, Mr. Vinod explained how to correctly insert glyphs into the appropriate slots. He showed how to align the letters to the baseline, keep the scale the same, and make sure that all the elements are accurately placed inside the designated space. Thanks to his explanation, I was able to avoid importing errors and make the font structure more accurate and technically correct.

Tutorial Video: Click here

Figure 3.4.1 Chart for Kerning - Uppercase / (Week 11, 2/7/2025)

Figure 3.4.2 Chart for Kerning - Lowercase / (Week 11, 2/7/2025)

In Adobe Illustrator, I converted all letters, numbers, and punctuation into outlined shapes using Object > Path > Outline Stroke. This step ensured the forms were ready for import into FontLab as individual glyphs.

I then set up the font metrics in FontLab based on the measurements from my Illustrator design:

– Baseline: 0 pt
– Cap Height: 700 pt
– x-Height: 500 pt
– Descender: –250 pt

These values helped maintain proportional accuracy when transitioning from Illustrator to FontLab.

Figure 3.4.3 Progression / (Week 11, 03/07/2025)

I designed all the letters and punctuation in Adobe Illustrator and then transferred them to FontLab by copying and pasting the shapes, following a tutorial video. I worked on Taylor’s Maclab, as it has a fully licensed version of FontLab 7, which allowed me to complete the process smoothly.

Figure 3.4.4 Progression- Uppercase / (Week 11, 03/07/2025)

Figure 3.4.5 Progression- Lowerrcase / (Week 11, 03/07/2025)

Figure 3.4.6 Progression- Numbers / (Week 11, 03/07/2025)

Figure 3.4.7 Progression / (Week 11, 03/07/2025)

Figure 3.4.8 Progression / (Week 11, 03/07/2025)

During Week 12, Mr. Vinod gave positive feedback on my progress. He mentioned that everything looks good so far and encouraged me to continue working on the presentation of the typeface. His approval motivated me to keep refining the details and focus on preparing a clear and professional final presentation.

About My Typeface – “Lumiere”

“Lumiere” is a modern display typeface designed to combine elegance and readability. Its clean lines and balanced proportions give it a sophisticated look, making it suitable for branding, editorial design, and posters. The typeface features consistent stroke widths and carefully adjusted kerning to ensure visual harmony. Inspired by contemporary minimalist aesthetics, “Lumiere” aims to convey a sense of clarity, lightness, and refined style.

Link to download the font: Lumiere.ttf

Figure 3.4.9 Font information / (Week 11, 03/07/2025)

3.5 Typeface Presentation

Submission Requirements:

5 Artworks showcasing the typeface
Dimensions: 1024 × 1024 px
Resolution: 300 ppi

Figure 3.5.1 Reference / (Week 11, 10/07/2025)

Figure 3.5.2 Colors / (Week 11, 10/07/2025)

Prior to creating the final design, I collected several layout references and structured the main sections I planned to include:

Typeface Overview – a short introduction describing the name, style, and intended use of the font.
Design Concept & Inspiration – insights into the creative process and visual sources that guided the development.
Uppercase & Lowercase Showcase – a systematic display of all letters to highlight proportion and balance.
Practical Application Examples – visual samples demonstrating the typeface in titles, posters, or branding contexts.
Text Block Sample – an extended paragraph to illustrate legibility and overall text flow.

Figure 3.5.3 Progression in Adobe Illustrator / (Week 11, 10/07/2025)

Font Presentation

Lumiere

Figure 3.5.4 Font Presentation #1 / (Week 12, 11/07/2025)

Figure 3.5.5 Font Presentation #2 / (Week 12, 11/07/2025)

Figure 3.5.6 Font Presentation #3 / (Week 12, 11/07/2025)

Figure 3.5.7 Font Presentation #4 / (Week 12, 11/07/2025)

Figure 3.5.8 Font Presentation #5 / (Week 12, 11/07/2025)

3.6 Font Applications

Submission Requirements:

5 Artworks demonstrating the typeface
Must NOT exceed 1024 px in width or height
Resolution: 300 ppi

Figure 3.6.1 Reference / (Week 12, 11/07/2025)

I selected several high-quality mockups to showcase my typeface design in a realistic and professional way. These mockups help demonstrate how the typeface can be applied in various contexts, such as posters, branding, and packaging. By placing my design in these mockups, I aimed to highlight its versatility and aesthetic appeal.

"I chose these FIVE mockup applications to showcase my font design — “Lumiere”

HONOR "Standby" Competition
Magazine Layout
Advertising Banner
Passport Cover Design
Chrome Candle Packaging
Art Painting Print"

From the beginning, my goal was to experiment with applications that could express the refined and contemporary character of my typeface. The advertising banner and magazine layout were selected to showcase its clarity and impact in editorial and promotional settings. The passport cover and chrome candle packaging highlight how the font can bring a sense of sophistication and exclusivity to everyday objects. Meanwhile, the art painting print explores a more artistic interpretation, transforming the typeface into a decorative element that conveys mood and personality.

1. Standby (HONOR Competition)

This standby clock was designed for the HONOR competition.

Pattern Style: The interface features a soft 3D typographic style, created using my custom typeface Lumiere. The numerals are designed to resemble sleek, elongated clock hands, enhancing the visual rhythm of time representation. A subtle metallic gradient and bevel effects give the digits a refined, luxurious appearance, while the frosted glass-inspired background adds depth and elegance to the overall design. The combination of minimalistic composition and typographic experimentation reflects a modern, premium aesthetic suitable for a smartwatch interface.

Figure 3.6.2 Progression / (Week 12, 15/07/2025)

Figure 3.6.3 Standby / (Week 12, 15/07/2025)

HONOR Competition Website: Link

2. Magazine Layout

The magazine layout showcases Lumiere’s refined balance and readability, ideal for elegant headlines and editorial design.

For the magazine headline, I overlapped some letters slightly to create a modern editorial feel. The contrast between bold and light weights of Lumiere adds rhythm to the page, echoing the style of high-fashion magazines.

Figure 3.6.4 Progression / (Week 12, 15/07/2025)

Removed any original titles or text with the Remove Tool to prepare a clean magazine page.

Applied a Solid Colour overlay to slightly tone the page and create contrast for the type.

Inserted the Lumiere headlines through a selection mask, making sure it followed the magazine’s page curvature.

Adjusted the kerning and colour balance to give the text a printed, high-fashion editorial feel.

Figure 3.6.5 Magazine Layout / (Week 12, 15/07/2025)

3. Advertising Banner

I imagined this as part of a city street or event promotion. The large, stretched letters of Lumiere give a bold and confident vibe, perfect for catching attention in busy public spaces.

Figure 3.6.6 Progression / (Week 12, 15/07/2025)

Figure 3.6.7 Progression / (Week 12, 15/07/2025)

Added a Solid Colour layer in Color Mode to make the background smooth and uniform.

Placed the Lumiere typeface into the banner using a selection mask, aligning it to follow the perspective of the fabric/banner folds.

Adjusted the text colour to match the lighting of the street environment and refined letter spacing for maximum readability from a distance.

Figure 3.6.8 Advertising Banner / (Week 12, 15/07/2025)

4. Passport Cover Design

I wanted to show how Lumiere could bring a sense of identity and luxury to personal items. The embossed letters feel sophisticated and give the cover a travel-inspired, designer touch.

Figure 3.6.9 Progression / (Week 12, 15/07/2025)

After finishing the first passport design, I created a second variation since the mockup features two passports, and I wanted them to look distinct from each other. For this second design, I experimented with a different layout approach while keeping the luxurious feel. I adjusted the composition and spacing to contrast with the first design, making the two covers complement each other visually while still standing out as unique pieces.

Figure 3.6.10 Passport Cover Design / (Week 12, 15/07/2025)

5. Chrome Candle Packaging

The candle packaging shows how the Lumiere typeface can bring a refined and elegant touch to lifestyle products. Its clean and graceful letterforms make it suitable for boutique or luxury candle branding, adding a sense of sophistication and exclusivity. The typeface perfectly complements the calm and aesthetic atmosphere associated with premium scented candles.

Figure 3.6.11 Progression / (Week 12, 15/07/2025)

Figure 3.6.12 Chrome Candle Packaging / (Week 12, 15/07/2025)

6. Art Painting Print

Here, Lumiere becomes more than just text—it turns into a visual statement. By arranging the letters in an artistic way, I explored its potential as decorative art for a modern interior.

Figure 3.6.13 Progression / (Week 12, 15/07/2025)

For the art painting print, I wanted to transform my typeface into a piece of decorative art. The goal was to show how Lumiere can go beyond functional typography and become part of interior design. Its elegant and balanced forms make it suitable for modern and sophisticated spaces, adding a refined artistic touch to the décor.

Figure 3.6.14 Art Painting Print / (Week 12, 16/07/2025)

3.7 Final Task 3 Submission

1) Link to download the font: Lumiere.ttf

Figure 3.7.1 Font info/ (Week 12, 16/07/2025)

2) PDF of Typeface

Figure 3.7.2 Compilation of uppercase, lowercase, punctuation - PDF / (Week 12, 16/07/2025)

3) FontLab Screen Grab

Figure 3.7.3 Font Lab Screen Grab / (Week 12, 16/07/2025)

Figure 3.7.4 Font Lab Screen Grab / (Week 12, 11/07/2025)

4) FIVE font presentations

Figure 3.7.5 Font Presentation #1 / (Week 12, 11/07/2025)

Figure 3.7.6 Font Presentation #2 / (Week 12, 11/07/2025)

Figure 3.7.7 Font Presentation #3 / (Week 12, 11/07/2025)

Figure 3.7.8 Font Presentation #4 / (Week 13, 16/07/2025)

Figure 3.7.9 Font Presentation #5 / (Week 13, 16/07/2025)

Figure 3.7.10 Font Presentation PDF / (Week 13, 16/07/2025)

5) FIVE font applications

Figure 3.7.11 Font Application #1 / (Week 13, 16/07/2025)

Figure 3.7.12 Font Application #2 / (Week 13, 16/07/2025)

Figure 3.7.13 Font Application #3 / (Week 13, 16/07/2025)

Figure 3.7.14 Font Application #4 / (Week 13, 16/07/2025)

Figure 3.7.15 Font Application #5 / (Week 13, 16/07/2025)

Figure 3.7.16 Font Application #6 / (Week 13, 16/07/2025)

Figure 3.7.17 Font Application PDF / (Week 13, 16/07/2025)

FEEDBACK

Week 8

During Week 8, I wasn’t able to receive direct feedback on my work. However, I continued developing my project based on the previous suggestions, focusing on refining the layout and making sure my wordmark is clearly integrated. I plan to get feedback in the next session to make further improvements.

Week 9

General feedback :

Mr. Vinod emphasized the importance of identifying the design problem before creating a typeface, so the solution can be reflected through the font. He explained that the artboard size should be set to 1000 pixels, with the x-height at 500 pt. We also learned that Glyphs can automatically adjust characters based on context.

Week 10

General feedback:

There was no general feedback this week.

Specific Feedback:

Mr. Vinod said the work-in-progress looks good, but advised me to check if a similar font already exists online. After researching, I found that a similar typeface exists, but only in uppercase. Therefore, he suggested I create both uppercase and lowercase letters to make the font more complete and unique.

Week 11

Specific feedback:

During Week 11, I received constructive feedback from Mr. Vinod regarding the consistency of my typeface. He pointed out that both uppercase and lowercase letters should maintain a uniform width to improve the overall balance and alignment of the type design.

Based on his observation, I reviewed my glyphs and noticed several inconsistencies in width, especially among the lowercase characters. This insight helped me refine the proportions and spacing of each letter to achieve better harmony across the typeface.

Other than that, he mentioned that the progress was good overall, which encouraged me to keep developing the type system further.

Week 12

General feedback:

There was no general feedback this week.

Specific feedback:

In Week 12, Mr. Vinod reviewed my updated typeface and was satisfied with the overall progress. He noted that the font was looking good and encouraged me to continue developing the presentation and application materials.

Week 13

Specific feedback:

Mr. Vinod reviewed my final project progress and mentioned that everything looked good. He encouraged me to continue refining the Font Application to ensure it is well-presented and suitable for the final submission.

REFLECTIONS

Experience
Working on Task 3 was both challenging and insightful, as it required me to fully apply my typeface in a practical context. Designing a clock interface for the HONOR competition allowed me to explore new ways of integrating typography into functional digital products. I experimented with gradients, 3D effects, and composition to highlight the unique features of my typeface Lumiere. This process helped me understand how type design can influence visual hierarchy and user perception in interface design.

Observations
I noticed that subtle adjustments in letterspacing and kerning significantly affected the readability of the numerals when displayed on a small watch screen. The combination of color, texture, and lighting effects played a crucial role in making the typeface appear both elegant and functional. I also observed that minimalist and clean layouts were more suitable for wearable devices, as excessive decorative elements reduced clarity.

Findings
Through this project, I learned that a typeface is not only a stylistic element but also a functional tool that must adapt to various digital interfaces. Applying my font in the HONOR clock design demonstrated the importance of balancing aesthetics with usability. Additionally, this task allowed me to see the commercial potential of custom typefaces, as they can be effectively used in branding and digital product design.

FURTHER READING

Week 8 (12/6/2025)

Fig.6.1.1 A Type Primer (2003)

Written by: John Kane
Link to Source

I selected this book because I wanted to strengthen my understanding of typographic fundamentals while working on my type design project. The exercises and visual examples were especially useful, as they encouraged me to experiment with hierarchy, spacing, and alignment rather than simply relying on intuition. One part that stood out to me was the emphasis on "thinking in systems rather than single letters"—reminding me that typography should be consistent and functional as a whole. This insight pushed me to revisit my typeface spacing and kerning for Task 3. It also made me more aware of how small adjustments can significantly improve readability and overall aesthetics.

Week 9 (19/6/2025)

Fig.6.1.2 Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (2015)

Written by: Ellen Lupton
Link to Source

I chose this book as a reference because it offers practical approaches to using typography across different media, which I found relevant for my final project. I was particularly interested in the chapters discussing typographic hierarchy and the relationship between text and images. It helped me better understand how to use contrast, weight, and scale to guide the viewer’s attention. I realized that typography is not just about choosing a nice typeface, but about creating a clear visual flow. This idea inspired me to test different weights and sizes in my clock interface design for the HONOR competition, making it both functional and visually appealing.

Week 10 (26/6/2025)

Fig.6.1.3 The Elements of Typographic Style (2012)

Written by: Robert Bringhurst
Link to Source

I decided to read this book because it is often referred to as the "typographer’s bible." While some chapters are more theoretical, I found the sections on rhythm, proportion, and spacing particularly valuable. One key takeaway for me was that typography should have a sense of “musical rhythm,” which resonated with my ongoing work on letterspacing and kerning in FontLab. This perspective helped me slow down and look at my typeface not only as individual letters but as part of a harmonious visual composition.

Week 11 (3/7/2025)

Fig.6.1.4 5 Common Typography Applications and Use Cases (2023)

Written by: Emily Stevens
Link to Source

This online article was helpful for understanding how different typographic styles function in practical applications such as branding, posters, and packaging. Since I was preparing my font application for Task 3, it made me think about how my typeface could be used beyond just this project. One point that stood out was how posters require expressive and attention-grabbing typography, while logos demand simplicity and memorability. It made me realize the importance of adaptability when designing a typeface for multiple purposes.

Week 12 (10/7/2025)

Fig.6.1.5 Just My Type: A Book About Fonts (2010)

Written by: Simon Garfield
Link to Source

I picked this book because I wanted to explore the cultural and emotional aspects of type design. Unlike the other books, which are more technical, this one tells stories about famous typefaces and how they shaped visual culture. Reading about the history of Helvetica, Baskerville, and Comic Sans reminded me that typography carries emotional weight and identity. This inspired me to think more about how my typeface Lumiere could communicate personality and mood in its applications.

Week 13 (17/7/2025)

Fig.6.1.6 Designing Type (2020)

Written by: Karen Cheng
Link to Source

I included this book in my further reading because it provides a clear explanation of type construction and how each letterform relates to others in a family. The detailed analysis of proportions, stroke contrast, and optical adjustments helped me evaluate my own typeface more critically. One particularly useful insight was how small refinements in curves and terminals can significantly improve legibility at different scales. This was especially relevant for my final project, as my typeface had to remain readable and elegant on a small smartwatch display.

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Aidina Begimbaeva (0380489)