November 11, 2025 - December 15, 2025
11.11.2025 – 15.12.2025 / Week8 – Week13
Ryoma Kato / 0365874
Advanced Typography / Bachelor of design (Honours) in Creative Media
WORK
Task 3
In this task, we need to make a font that serve any problem.
For the first step, I did research faze and make slide.
( Idea Research slides, Week 9 )
This is the slide that I made for font idea.
( Idea Research slides 2, Week 9 )
( Idea Research slides 3, Week 9 )
( Idea Research slides 4, Week 9 )
( Idea Research slides 5, Week 9 )
I think 4 ideas for this assignment, and I decide to make "K-pop Demon Hunters' Music Video Font". Because despite being a movie soundtrack that topped music charts, the font used in its music video was not distributed, and no lowercase version existed. This created a problem where fans and other creators had no font available to express the world of K-pop Demon Hunter.
( Font Reference, Week 11 )
For the first step of making font, I try to correct the reference from the music video and I try to start font making from capital letter first.
( Capital letter that I made, Week 11 )
This is the capital letter of font that I made. For characters present in the music video, we traced them directly. For characters not present, we considered the characteristics of the fonts found within the music video and created characters possessing those characteristics.
When transferring to Font Lab, there may be some minor changes, but for Capital Letters, we will import the created design into Font Lab as the base.
At the next step, I try to make a number 0 to 9. Since the number does not appear in the music video at all, we also extracted characteristics from the Capital Letter and created a font for the number to match it.
( Number that I made, Week 11 )
It was difficult to incorporate the font characteristics from the K-pop Demon Hunter music video into the numbers 1 and 9.
( The editing screen in Illustrator, Week 11 )
After making a number font, I start to make small letter font.
( Small letter that I made, Week 11 )
This is the small letter font that I made. Regarding lowercase letters, there were fewer references available within the music video compared to numbers, making them more challenging to create. Even so, I watched the music video over and over again, extracting features and design ideas that could be applied to the lowercase letters, and designed characters from a to z.
( The editing screen in Illustrator 2, Week 11 )
These are all the letters and numbers I created.
At the forth step, I will transfer the font design created in Illustrator to the FontLab application.
( The editing screen in FontLab 1, Week 12 )
( The editing screen in FontLab 2, Week 12 )
As shown in the image above, we will incorporate all created font designs into FontLab.
( Complete editing screen in FontLab, Week 12 )
This is the FontLab editing screen displaying uppercase letters, lowercase letters, and numbers.
Fifth step, If I simply apply the changes as is, the spacing between characters will be inconsistent, so we'll adjust it to ensure proper spacing.
( Complete editing screen in FontLab 2, Week 12 )
This image shows the result of adjusting the spacing between characters.
After export the font, I started to make Presentation and Application posters.
( Font Presentation poster 1, Progress, Week 12 )
( Font Presentation poster 2, Progress, Week 12 )
( Font Presentation poster 3, Progress, Week 12 )
( Font Presentation poster 4, Progress, Week 12 )
( Font Presentation poster 5, Progress, Week 12 )
These are the poster that I made for font presentation.
( Font Application poster 1, Progress, Week 12 )
( Font Application poster 2, Progress, Week 12 )
( Font Application poster 3, Progress, Week 12 )
( Font Application poster 4, Progress, Week 12 )
( Font Application poster 5, Progress, Week 12 )
And these are poster that I made for font application.
( Font Application posters, Progress, Week 12 )
The order in which they were created didn't look good when arranged, so I rearranged them as shown in the image above.
Complete Work
・Porcelain Display
・Font Presentation
・Font Application
Porcelain Display
( Porcelain Display, Complete, Week 12 )
Font Presentation
( Font Presentation 1, Complete, Week 12 )
( Font Presentation 2, Complete, Week 12 )
( Font Presentation 3, Complete, Week 12 )
( Font Presentation 4, Complete, Week 12 )
( Font Presentation 5, Complete, Week 12 )
( Font Presentation Posters, Complete, PDF, Week 12 )
Font Application
( Font Application 1, Complete, Week 12 )
( Font Application 2, Complete, Week 12 )
( Font Application 3, Complete, Week 12 )
( Font Application 4, Complete, Week 12 )
( Font Application 5, Complete, Week 12 )
( Font Application Posters, Complete, PDF, Week 12 )
FEEDBACK
Week 9: No feed back because I didnt attend to the class. I need to prepare a lot of things for job hunting next week.
Week 10: No feed back. I joined to job fare for job hunting so I didnt attend to class.
Week 11:
General
No feed back to general.
Specific
The professor instructed me to continue creating the font by aligning the bottoms and heights of the characters. He also said to proceed with creating the font for uppercase letters and numbers as is.
Week 12:
General
Need to make Presentation and Application font poster
Specific
I don't have enough time to take a feed back so no feedback
Week 13:
REFLCETION
Experiences
This project was a very meaningful conclusion to the module. While it allowed a high degree of creative freedom and exploration of various forms of expression, it was also particularly challenging. Developing a font to address a problem based on a theme I was interested in was both difficult and fascinating, as I usually do not think about solving issues through fonts. As a result, I was able to experiment with diverse expressions and possibilities, and I am quite satisfied with the final outcome. In the early stages, it was hard to define the project, making the work feel difficult. However, once I entered the font creation stage, it became enjoyable, and I could capture various characteristics while designing, which made me feel growth as a designer.
Observation
To incorporate elements from the action animation film K-pop Demon Hunter into the font, it was necessary to include the sharpness of weapons such as swords and spears, while also conveying strength. The relationship between uppercase and lowercase letters was particularly important, requiring font ideas that combined the unique characteristics of each letter with the desired thematic elements. It became clear that the beginning and ending strokes of letters and numbers were the easiest places to incorporate these elements.
Findings
Through this project, I learned the importance of integrating thematic expression with the functional aspects of letters. By incorporating the sharpness of swords and spears into the letterforms, I could convey a sense of strength, and paying attention to the balance between uppercase and lowercase letters allowed me to maintain both unity and individuality. I also found that numbers and symbols were easy to incorporate thematic elements into, helping to enhance overall consistency. Through the process of trial and error, I realized that my flexibility in design and expressive abilities had improved.
FURTHER READING
( Typography Referenced by Allan Haley et al )
This material (Typography, Referenced) positions typography not merely as a technical skill, but as a central cultural and communicative force in graphic design. It frames typography as a discipline with deep historical roots, evolving alongside technological, social, and cultural change, from the invention of movable type to the contemporary digital era. The book emphasizes that typography is no longer an “invisible servant” of design, but an expressive and intellectual practice that shapes meaning, readability, and visual identity.
Rather than focusing on depth in a single area, the book functions as a comprehensive reference that maps the entire typographic landscape. It introduces core typographic principles, terminology, and practices while also documenting key historical milestones, influential designers, major typefaces, and the institutions that support typographic culture. This breadth-first approach allows designers to understand how historical context, technological innovation, and design intent intersect within typographic practice.
A significant component of the book is its historical timeline, which traces Western typography from Greek and Roman letterforms through Renaissance printing, industrialization, and modernist movements. By highlighting figures such as Gutenberg, Garamond, Bodoni, Baskerville, and later designers like Gill, Tschichold, Frutiger, and Zapf, the text demonstrates how typographic form responds to changing tools, production methods, and design philosophies. Typography is presented as an evolving system rather than a fixed set of rules.
In addition, Typography, Referenced connects theory and practice by addressing type design, classification, typographic principles, and contemporary usage. It also extends beyond typefaces themselves to include foundries, publications, organizations, and educational resources, encouraging further independent research. Overall, the book serves as a foundational guide for developing typographic literacy and situating practical design decisions within a broader historical and conceptual framework.
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