Sandoll Inside
Intro
Sandoll is committed to building a world where anyone can express themselves freely in their own way. As part of this effort, in January 2025, Sandoll launched the course Everything You Need to Know About Typography Essentials and Practical Font Usage on ShareX, the design education platform by PlusX.
This course was created to share Sandoll’s 40 years of typography expertise with professionals who continue to pursue creative challenges in the design industry, with the aim of growing together and achieving more meaningful outcomes.
You may be wondering why Sandoll chose to launch an online course. While there are many courses on the market that focus on font creation, there are relatively few that address typography itself in depth. Rather than simply teaching how to make fonts, we believed that Sandoll’s greatest strength lies in establishing a solid foundation in typography and offering practical, concrete guidance that enhances both design quality and communicative clarity.
Six Sandoll designers participated directly in this course. Even the ShareX team noted that it was rare to see a course developed with the involvement of so many designers. All of them are actively producing strong results in professional practice, and through this project, I personally gained a great deal of insight and learning as well.
Through this article, I would like to take a closer look at each of the Sandoll designers who contributed to the creation of the course.
Jeong Taeyeong, Type Design Researcher
Q1. What is your current role at Sandoll?
I am part of the TypeTech Team, where I conduct research on font technology and type design. My work focuses on making fonts easier for anyone to create—and even easier to use.
To support clearer communication, I have researched typographic terminology and published the paper Korean Typeface Terminology 2022 with the Korean Society of Typography. I also led the study Korean Typeface Classification, which contributed to improving the font search filters on Sandoll Cloud. More recently, I presented research on the Korean Font Standard (SD-KR), aimed at enhancing the usability and quality of Korean fonts.
Q2. What role did you take on in the ShareX project?
I introduced the basic background and key terms in type design and font technology to help participants follow Sandoll’s course more easily. As with any specialized field, type design involves many rarely used Korean terms as well as unfamiliar foreign terminology, so I focused on explaining these concepts in a clear and accessible way. I hope my session can serve as a reference—much like a dictionary—whenever learners feel momentarily lost while taking the course.
Q3. Is there a part of the course you would especially recommend to others?
I would strongly recommend 「Practical Tips for Using Fonts Effectively, Parts 1 and 2」 led by Bae Seongwoo and Lim Hyeeun. Since most designers do not design fonts themselves, learning how to use fonts well is often the most relevant and practical need.
These sessions go beyond current trends to cover how to select high-quality fonts and apply them effectively in real projects. After watching them, you can clearly feel a difference in how you approach and use fonts.
Q4. What moment stood out to you most during the project?
Among the sessions I introduced, the most memorable one was the lecture introducing the printing presses collected by Sandoll. Although I passed by them every day at work, this was the first time I truly understood how they work. I would have liked to demonstrate them in person, but since that wasn’t possible, I focused on capturing their details and mechanisms as clearly as possible on video.
Q5. How did you feel about participating in the project?
I have had several opportunities to teach how to design font to those who aspire to become font designers or who need to work on font design in practice. However, this was my first experience teaching designers from other fields how to understand and apply font design effectively.
When I begin learning something new myself, I often rely on lectures by experts and study independently. Being able to play that role for others has been deeply rewarding. Thank you.
Lee Youbin, Type Designer
Q1. What is your current role at Sandoll?
I work as a type designer at Sandoll’s design studio. My role primarily involves creating corporate custom fonts as well as retail fonts developed in-house at Sandoll. Through this work, I focus on designing letterforms that people need, and on layering them with a distinct voice and character.
Q2. What role did you take on in the ShareX project?
I led one of Sandoll’s sessions, titled 「How to Put Intention into a Font.」 In this talk, I explained Sandoll’s overall font-production process and examined in detail the communication and implementation steps required to move closer to the intended design. I also categorized Sandoll’s fonts into custom and retail, using various examples to illustrate each process. As all the examples were drawn from projects I had personally worked on, I was able to prepare the session with a strong sense of clarity and depth.
Q3. Is there a part of the course you would especially recommend to others?
I would like to recommend the session 「Practical Tips for Using Fonts, Part 2, from a Font Designer」 led by instructor Lim Hyeeun. Many people around me often ask which fonts they should use when working on a project, and I have also found myself unsure how best to answer those questions. This lecture made me feel that it could provide a clear response to that concern. Potentially challenging font-related knowledge and classification methods are explained through a variety of concrete examples, making the content easy to understand even for those with limited prior knowledge of fonts. In addition, the instructor shared specific data on commonly used fonts across different design fields and recommended websites for exploring font-use references, from which I was also able to gain valuable insights.
Q4. What moment stood out to you most during the project?
Have you ever tried pronouncing the word ‘gyugyeok'(standard/specification) repeatedly? In my lecture, there is a section where I explain font standards and specifications, and while preparing the session came with various challenges, that part was particularly difficult. Repeating the word “gyugyeok” several times in a row—and reading out multiple standard names such as KS X 1001:1992 or KS C 5601-1987—turned out to be surprisingly hard to articulate. I remember stumbling over the same lines again and again, having to reshoot multiple times before I could finally move on to the next part. It really made me appreciate announcers and professional instructors all the more. Still, thanks to the patience of the ShareX team and PD Sung-woo Bae, who planned the lecture, we were able to complete the recording smoothly in the end.
Q5. How did you feel about participating in the project?
While preparing this lecture, it also became an opportunity for me to reflect once again on how much time and careful effort are required to fully realize and complete a single font with a clear intended message.
Bae Seongwoo, Type Consultant
Q1. What is your current role at Sandoll?
I work at Sandoll as a type consultant. In this role, I listen closely to the voices of creators, identify the various challenges they face, and help deliver better typography experiences by leveraging Sandoll’s type solutions.
Q2. What role did you take on in the ShareX project?
As the project manager for the Share X project, I was responsible for planning the lectures and managing and operating the overall process. I served as a bridge between the six instructors at Sandoll, communicating closely with them to help shape the lectures into richer and more complete content.
In addition, I was in charge of two lectures.
The first is a case study lecture that introduces ten examples of how various issues faced by corporate clients were resolved. The cases are presented in pairs, allowing viewers to easily reference them according to different situations.
The second lecture focuses on how to use fonts effectively in practical work. It reviews the flow of font trends in response to rapidly changing design trends and highlights key typography trends that designers should not overlook. Centered on typography in UX/UI environments, the use of variable fonts (VF), and mixing multilingual typography, the lecture aims to provide insights that can be directly applied in real-world practice.
Q3. Is there a part of the course you would especially recommend to others?
Since all of the lectures are filled with substantial content, it would be natural to recommend all of them. However, if I were to choose two, the first would be “Essential Font Knowledge That Comes to Mind When It Matters,” by designer Jung Taeyoung. Font-related terminology is diverse and often confusing, so taking the time to review and familiarize yourself with these terms before important meetings or during work can lead to much clearer communication. Accurately understanding and using font terminology in practice is not only beneficial for design quality, but also greatly supports collaboration.
The second lecture I would strongly recommend is “Typography Licensing and Copyright That Practitioners Must Know,” by Kim Seunghyun. Since fonts are also a form of content, understanding how content copyright is structured and how it should be applied in practice is extremely useful. In particular, as the use of free fonts and OFL (Open Font License) fonts such as Pretendard continues to grow, having a solid understanding of these licenses is becoming increasingly important.
In addition, the lecture organizes past copyright dispute cases, so if you have concerns related to licensing, I highly recommend watching it at least once.
Q4. What moment stood out to you most during the project?
I remember the moments when we gathered with multiple designers to exchange feedback on the lectures and raise their overall quality. As the saying goes, “you learn more when you teach,” and the process of preparing the lectures felt like a time of growth and learning for the speakers themselves as well. It was a valuable experience in which scattered information and knowledge were brought together into a cohesive whole.
On a personal note, the most meaningful part for me was the process of collecting and organizing various cases and outlining ways to address the different challenges faced by companies. Through this, I was able to gain a deeper understanding of Sandoll’s approach to problem-solving, along with practical insights applicable to real-world work.
Lastly, recording and filming inside the booth with lectures we had carefully prepared was also a truly enjoyable experience. It’s not often that you get an opportunity like that.
Q5. How did you feel about participating in the project?
Without the designers who led and delivered the lectures, completing this series of lectures would have been extremely difficult. I sincerely thank them for generously making time despite their busy schedules and for contributing such high-quality lectures. I would like to take this opportunity to express my deep gratitude once again.
Lim Hyeeun, Type Designer
Q1. What is your current role at Sandoll?
I plan and produce Sandoll’s retail and custom fonts. My goal is always to create fonts that are practical, beautiful, or enjoyable—ideally fulfilling at least one of these three qualities. I also write about fonts and typography, create related content, and plan and conduct research projects.
Q2. What role did you take on in the ShareX project?
I was responsible for the second lecture in the second part, titled “Practical Tips for Using Fonts Well 2, by a Font Designer.” Many users struggle when selecting fonts because they lack clear criteria or rationale, so this lecture introduces several standards to help make font selection easier and more systematic. After watching the lecture, I expect viewers will be able to apply these criteria based on industry-specific font trends and Hangul classification, with a focus on “consistency,” which font designers consider the most important value. In addition, I shared various channels for self-studying typography and fonts, ways to find free fonts, and a few go-to websites I had been saving. Through this lecture, I hope font selection can become a more accessible and structured process.
Q3. Is there a part of the course you would especially recommend to others?
I would like to recommend three lectures.
From the first part, I recommend “Basic Terminology for Hangul Type Communication” and “Basic Terminology for Latin Type Communication.” In just 16 minutes, you can master the essential terms used in all communication related to Hangul and Latin fonts. If you have ever found yourself using vague expressions such as “this part” or “this stroke” when describing font characteristics, I would recommend these lectures.
“How to Embed Intention into Fonts” from the first part is also a valuable lecture, as it introduces Sandoll’s actual “3P” process used in font production. It offers insight into Sandoll’s approach to deriving visual points from a concept, developing design drafts, and evolving them into fonts. Through the example projects, you can also see design drafts and proposal materials from real production processes. The lecture provides useful insights and inspiration for lettering, branding, and graphic design work as well.
In the second part, the third lecture’s section titled “Commonly Used Brand Terminology” was particularly strong in its explanation of combination rules, size regulations, and grid systems, all of which are essential when creating brand symbols. The lecture is filled with experience-based tips, making it easier to clearly understand areas that are often only vaguely familiar. It seems especially useful when creating a new logo or refining a brand manual.
Q4. What moment stood out to you most during the project?
It was an opportunity to realize that not only the content itself, but also the presenter’s attitude, tone, and script are important mediums of communication. When I listened back to some chapters, my voice sounded stiff and the script felt too formal and written, making it difficult to stay focused on the content. As a result, there were parts that I re-recorded three or four times.
Q5. How did you feel about participating in the project?
As the saying goes, the more you know, the more interesting it becomes, and I hope that more people (along with myself) come to enjoy this field. It would be great if more people could feel the same kind of thrill when seeing a good font as when listening to a great piece of music. I also hope it can be of help, even in small ways, in everyday practice.
Kim Yeoreum, Brand Designer
Q1. What is your current role at Sandoll?
I work as a brand designer at Sandoll. I am involved in planning and execution across various online and offline platforms to help expand the brand. I write, draw, and take part in various activities.
Q2. What role did you take on in the ShareX project?
I was responsible for producing the third lecture in the second part, titled “Practical BI Tips for Playing with Fonts.” The title feels a bit embarrassing now, but I spent time on it after being told that an engaging title would be better. The lecture covers basic brand terminology, optical adjustments, methods for modifying fonts, and tips for selecting designated typefaces. It places particular emphasis on understanding optical illusion and visual correction, and includes a demonstration of creating a logotype by applying those principles. I hope it is helpful for junior brand designers or designers who want to use fonts more effectively.
Q3. Is there a part of the course you would especially recommend to others?
I recommend the second lecture in the second part, titled “Practical Tips for Using Fonts Well 2, by a Font Designer.” I think it is especially useful for brand designers like myself. The lecture explains the criteria for selecting good fonts, allowing designers to gain fundamental tips for creating strong typography.
It also covers how to choose fonts that fit the context. When designing a logotype, having a clear understanding of font classifications that can serve as a base or reference makes it easier to refine the design, and it is also very helpful when selecting a designated font, which serves as a tool for maintaining brand identity consistently.
Q4. What moment stood out to you most during the project?
It was not a single moment, but rather knowledge that stayed with me through the process. While preparing the second clip, I looked into academic papers and books to better understand the concept of optical illusion and how it affects perception.
Although this was not covered in the lecture, I came to understand that Thickness Illusion* and Vertical–Horizontal Illusion**, which are common knowledge among type designers, are closely related. The relationship lies in the idea that what appears longer tends to look thinner. It may seem obvious in hindsight, but it led to a moment of realization—“Oh, that’s how it works.” I came to understand the underlying principle.
*Thickness Illusion: a phenomenon in which horizontal lines appear thicker than vertical lines
**Vertical–Horizontal Illusion: a phenomenon in which horizontal lines appear shorter than vertical lines
Q5. How did you feel about participating in the project?
I was glad to be part of Sandoll’s effort to contribute to a better world where anyone can express themselves freely. I hope our lectures were helpful to someone. Wishing all designers the best.
Outro
Through this article, one thing became clear once again: at the center of everything Sandoll does are people. I was reminded of the designers who worked late into the night, carefully crafting presentation slides and refining scripts line by line. They approached this course not merely as instructors delivering knowledge, but as peers committed to creating a more refined and meaningful design experience together. I hope that sincerity resonates with you as well.
At the same time, I hope this course reaches many more designers. From professionals working in corporate environments to students just beginning their journey in design, I wish for this course to offer new insights into typography and design. May those insights take root as seeds, leading to broader possibilities and continued growth.
Sandoll Inside
Intro
Sandoll is committed to building a world where anyone can express themselves freely in their own way. As part of this effort, in January 2025, Sandoll launched the course Everything You Need to Know About Typography Essentials and Practical Font Usage on ShareX, the design education platform by PlusX.
This course was created to share Sandoll’s 40 years of typography expertise with professionals who continue to pursue creative challenges in the design industry, with the aim of growing together and achieving more meaningful outcomes.
You may be wondering why Sandoll chose to launch an online course. While there are many courses on the market that focus on font creation, there are relatively few that address typography itself in depth. Rather than simply teaching how to make fonts, we believed that Sandoll’s greatest strength lies in establishing a solid foundation in typography and offering practical, concrete guidance that enhances both design quality and communicative clarity.
Six Sandoll designers participated directly in this course. Even the ShareX team noted that it was rare to see a course developed with the involvement of so many designers. All of them are actively producing strong results in professional practice, and through this project, I personally gained a great deal of insight and learning as well.
Through this article, I would like to take a closer look at each of the Sandoll designers who contributed to the creation of the course.
Jeong Taeyeong, Type Design Researcher
Q1. What is your current role at Sandoll?
I am part of the TypeTech Team, where I conduct research on font technology and type design. My work focuses on making fonts easier for anyone to create—and even easier to use.
To support clearer communication, I have researched typographic terminology and published the paper Korean Typeface Terminology 2022 with the Korean Society of Typography. I also led the study Korean Typeface Classification, which contributed to improving the font search filters on Sandoll Cloud. More recently, I presented research on the Korean Font Standard (SD-KR), aimed at enhancing the usability and quality of Korean fonts.
Q2. What role did you take on in the ShareX project?
I introduced the basic background and key terms in type design and font technology to help participants follow Sandoll’s course more easily. As with any specialized field, type design involves many rarely used Korean terms as well as unfamiliar foreign terminology, so I focused on explaining these concepts in a clear and accessible way. I hope my session can serve as a reference—much like a dictionary—whenever learners feel momentarily lost while taking the course.
Q3. Is there a part of the course you would especially recommend to others?
I would strongly recommend 「Practical Tips for Using Fonts Effectively, Parts 1 and 2」 led by Bae Seongwoo and Lim Hyeeun. Since most designers do not design fonts themselves, learning how to use fonts well is often the most relevant and practical need.
These sessions go beyond current trends to cover how to select high-quality fonts and apply them effectively in real projects. After watching them, you can clearly feel a difference in how you approach and use fonts.
Q4. What moment stood out to you most during the project?
Among the sessions I introduced, the most memorable one was the lecture introducing the printing presses collected by Sandoll. Although I passed by them every day at work, this was the first time I truly understood how they work. I would have liked to demonstrate them in person, but since that wasn’t possible, I focused on capturing their details and mechanisms as clearly as possible on video.
Q5. How did you feel about participating in the project?
I have had several opportunities to teach how to design font to those who aspire to become font designers or who need to work on font design in practice. However, this was my first experience teaching designers from other fields how to understand and apply font design effectively.
When I begin learning something new myself, I often rely on lectures by experts and study independently. Being able to play that role for others has been deeply rewarding. Thank you.
Lee Youbin, Type Designer
Q1. What is your current role at Sandoll?
I work as a type designer at Sandoll’s design studio. My role primarily involves creating corporate custom fonts as well as retail fonts developed in-house at Sandoll. Through this work, I focus on designing letterforms that people need, and on layering them with a distinct voice and character.
Q2. What role did you take on in the ShareX project?
I led one of Sandoll’s sessions, titled 「How to Put Intention into a Font.」 In this talk, I explained Sandoll’s overall font-production process and examined in detail the communication and implementation steps required to move closer to the intended design. I also categorized Sandoll’s fonts into custom and retail, using various examples to illustrate each process. As all the examples were drawn from projects I had personally worked on, I was able to prepare the session with a strong sense of clarity and depth.
Q3. Is there a part of the course you would especially recommend to others?
I would like to recommend the session 「Practical Tips for Using Fonts, Part 2, from a Font Designer」 led by instructor Lim Hyeeun. Many people around me often ask which fonts they should use when working on a project, and I have also found myself unsure how best to answer those questions. This lecture made me feel that it could provide a clear response to that concern. Potentially challenging font-related knowledge and classification methods are explained through a variety of concrete examples, making the content easy to understand even for those with limited prior knowledge of fonts. In addition, the instructor shared specific data on commonly used fonts across different design fields and recommended websites for exploring font-use references, from which I was also able to gain valuable insights.
Q4. What moment stood out to you most during the project?
Have you ever tried pronouncing the word ‘gyugyeok'(standard/specification) repeatedly? In my lecture, there is a section where I explain font standards and specifications, and while preparing the session came with various challenges, that part was particularly difficult. Repeating the word “gyugyeok” several times in a row—and reading out multiple standard names such as KS X 1001:1992 or KS C 5601-1987—turned out to be surprisingly hard to articulate. I remember stumbling over the same lines again and again, having to reshoot multiple times before I could finally move on to the next part. It really made me appreciate announcers and professional instructors all the more. Still, thanks to the patience of the ShareX team and PD Sung-woo Bae, who planned the lecture, we were able to complete the recording smoothly in the end.
Q5. How did you feel about participating in the project?
While preparing this lecture, it also became an opportunity for me to reflect once again on how much time and careful effort are required to fully realize and complete a single font with a clear intended message.
Bae Seongwoo, Type Consultant
Q1. What is your current role at Sandoll?
I work at Sandoll as a type consultant. In this role, I listen closely to the voices of creators, identify the various challenges they face, and help deliver better typography experiences by leveraging Sandoll’s type solutions.
Q2. What role did you take on in the ShareX project?
As the project manager for the Share X project, I was responsible for planning the lectures and managing and operating the overall process. I served as a bridge between the six instructors at Sandoll, communicating closely with them to help shape the lectures into richer and more complete content.
In addition, I was in charge of two lectures.
The first is a case study lecture that introduces ten examples of how various issues faced by corporate clients were resolved. The cases are presented in pairs, allowing viewers to easily reference them according to different situations.
The second lecture focuses on how to use fonts effectively in practical work. It reviews the flow of font trends in response to rapidly changing design trends and highlights key typography trends that designers should not overlook. Centered on typography in UX/UI environments, the use of variable fonts (VF), and mixing multilingual typography, the lecture aims to provide insights that can be directly applied in real-world practice.
Q3. Is there a part of the course you would especially recommend to others?
Since all of the lectures are filled with substantial content, it would be natural to recommend all of them. However, if I were to choose two, the first would be “Essential Font Knowledge That Comes to Mind When It Matters,” by designer Jung Taeyoung. Font-related terminology is diverse and often confusing, so taking the time to review and familiarize yourself with these terms before important meetings or during work can lead to much clearer communication. Accurately understanding and using font terminology in practice is not only beneficial for design quality, but also greatly supports collaboration.
The second lecture I would strongly recommend is “Typography Licensing and Copyright That Practitioners Must Know,” by Kim Seunghyun. Since fonts are also a form of content, understanding how content copyright is structured and how it should be applied in practice is extremely useful. In particular, as the use of free fonts and OFL (Open Font License) fonts such as Pretendard continues to grow, having a solid understanding of these licenses is becoming increasingly important.
In addition, the lecture organizes past copyright dispute cases, so if you have concerns related to licensing, I highly recommend watching it at least once.
Q4. What moment stood out to you most during the project?
I remember the moments when we gathered with multiple designers to exchange feedback on the lectures and raise their overall quality. As the saying goes, “you learn more when you teach,” and the process of preparing the lectures felt like a time of growth and learning for the speakers themselves as well. It was a valuable experience in which scattered information and knowledge were brought together into a cohesive whole.
On a personal note, the most meaningful part for me was the process of collecting and organizing various cases and outlining ways to address the different challenges faced by companies. Through this, I was able to gain a deeper understanding of Sandoll’s approach to problem-solving, along with practical insights applicable to real-world work.
Lastly, recording and filming inside the booth with lectures we had carefully prepared was also a truly enjoyable experience. It’s not often that you get an opportunity like that.
Q5. How did you feel about participating in the project?
Without the designers who led and delivered the lectures, completing this series of lectures would have been extremely difficult. I sincerely thank them for generously making time despite their busy schedules and for contributing such high-quality lectures. I would like to take this opportunity to express my deep gratitude once again.
Lim Hyeeun, Type Designer
Q1. What is your current role at Sandoll?
I plan and produce Sandoll’s retail and custom fonts. My goal is always to create fonts that are practical, beautiful, or enjoyable—ideally fulfilling at least one of these three qualities. I also write about fonts and typography, create related content, and plan and conduct research projects.
Q2. What role did you take on in the ShareX project?
I was responsible for the second lecture in the second part, titled “Practical Tips for Using Fonts Well 2, by a Font Designer.” Many users struggle when selecting fonts because they lack clear criteria or rationale, so this lecture introduces several standards to help make font selection easier and more systematic. After watching the lecture, I expect viewers will be able to apply these criteria based on industry-specific font trends and Hangul classification, with a focus on “consistency,” which font designers consider the most important value. In addition, I shared various channels for self-studying typography and fonts, ways to find free fonts, and a few go-to websites I had been saving. Through this lecture, I hope font selection can become a more accessible and structured process.
Q3. Is there a part of the course you would especially recommend to others?
I would like to recommend three lectures.
From the first part, I recommend “Basic Terminology for Hangul Type Communication” and “Basic Terminology for Latin Type Communication.” In just 16 minutes, you can master the essential terms used in all communication related to Hangul and Latin fonts. If you have ever found yourself using vague expressions such as “this part” or “this stroke” when describing font characteristics, I would recommend these lectures.
“How to Embed Intention into Fonts” from the first part is also a valuable lecture, as it introduces Sandoll’s actual “3P” process used in font production. It offers insight into Sandoll’s approach to deriving visual points from a concept, developing design drafts, and evolving them into fonts. Through the example projects, you can also see design drafts and proposal materials from real production processes. The lecture provides useful insights and inspiration for lettering, branding, and graphic design work as well.
In the second part, the third lecture’s section titled “Commonly Used Brand Terminology” was particularly strong in its explanation of combination rules, size regulations, and grid systems, all of which are essential when creating brand symbols. The lecture is filled with experience-based tips, making it easier to clearly understand areas that are often only vaguely familiar. It seems especially useful when creating a new logo or refining a brand manual.
Q4. What moment stood out to you most during the project?
It was an opportunity to realize that not only the content itself, but also the presenter’s attitude, tone, and script are important mediums of communication. When I listened back to some chapters, my voice sounded stiff and the script felt too formal and written, making it difficult to stay focused on the content. As a result, there were parts that I re-recorded three or four times.
Q5. How did you feel about participating in the project?
As the saying goes, the more you know, the more interesting it becomes, and I hope that more people (along with myself) come to enjoy this field. It would be great if more people could feel the same kind of thrill when seeing a good font as when listening to a great piece of music. I also hope it can be of help, even in small ways, in everyday practice.
Kim Yeoreum, Brand Designer
Q1. What is your current role at Sandoll?
I work as a brand designer at Sandoll. I am involved in planning and execution across various online and offline platforms to help expand the brand. I write, draw, and take part in various activities.
Q2. What role did you take on in the ShareX project?
I was responsible for producing the third lecture in the second part, titled “Practical BI Tips for Playing with Fonts.” The title feels a bit embarrassing now, but I spent time on it after being told that an engaging title would be better. The lecture covers basic brand terminology, optical adjustments, methods for modifying fonts, and tips for selecting designated typefaces. It places particular emphasis on understanding optical illusion and visual correction, and includes a demonstration of creating a logotype by applying those principles. I hope it is helpful for junior brand designers or designers who want to use fonts more effectively.
Q3. Is there a part of the course you would especially recommend to others?
I recommend the second lecture in the second part, titled “Practical Tips for Using Fonts Well 2, by a Font Designer.” I think it is especially useful for brand designers like myself. The lecture explains the criteria for selecting good fonts, allowing designers to gain fundamental tips for creating strong typography.
It also covers how to choose fonts that fit the context. When designing a logotype, having a clear understanding of font classifications that can serve as a base or reference makes it easier to refine the design, and it is also very helpful when selecting a designated font, which serves as a tool for maintaining brand identity consistently.
Q4. What moment stood out to you most during the project?
It was not a single moment, but rather knowledge that stayed with me through the process. While preparing the second clip, I looked into academic papers and books to better understand the concept of optical illusion and how it affects perception.
Although this was not covered in the lecture, I came to understand that Thickness Illusion* and Vertical–Horizontal Illusion**, which are common knowledge among type designers, are closely related. The relationship lies in the idea that what appears longer tends to look thinner. It may seem obvious in hindsight, but it led to a moment of realization—“Oh, that’s how it works.” I came to understand the underlying principle.
*Thickness Illusion: a phenomenon in which horizontal lines appear thicker than vertical lines
**Vertical–Horizontal Illusion: a phenomenon in which horizontal lines appear shorter than vertical lines
Q5. How did you feel about participating in the project?
I was glad to be part of Sandoll’s effort to contribute to a better world where anyone can express themselves freely. I hope our lectures were helpful to someone. Wishing all designers the best.
Outro
Through this article, one thing became clear once again: at the center of everything Sandoll does are people. I was reminded of the designers who worked late into the night, carefully crafting presentation slides and refining scripts line by line. They approached this course not merely as instructors delivering knowledge, but as peers committed to creating a more refined and meaningful design experience together. I hope that sincerity resonates with you as well.
At the same time, I hope this course reaches many more designers. From professionals working in corporate environments to students just beginning their journey in design, I wish for this course to offer new insights into typography and design. May those insights take root as seeds, leading to broader possibilities and continued growth.