TYPOGRAPHY
10 - October 2022 - 7 November 2022 (Week 7 - Week 11)
Christine Tan Yuen Yan / 0344039
Christine Tan Yuen Yan / 0344039
Typography GCD 60104 / Bachelor of Design (Hons) In Creative
Media
Task 3: Type Design and Communication
LECTURES
All lectures 1 to 6 were completed in
Task 1 _ Exercise 1& 2
WEEK 7: A Brief Introduction of Task 3_ Type Design and
Communication
This week, we were introduced by Mr VInod for our new task, task 3, Type
Design and Communication, along with a demo of how to construct a typeface
using shapes and strokes.
Adobe Illustrator Setting
- The size of the artboard is 1000pt to 1000pt
- CMYK
Notes
- X-height must be 500 points (by using the rectangle tool make the
shape of 500 x 500pt)
- The ascender and descender line must be within the 1000 x 1000 pt
artboard.
- The work must be reworked once the design exceeds 500 pt of the
rectangle.
- Overshoot: Optical/technical reasons.
- How to decide counter space: Same amount of space (thickness) that is
between the 2 stems/ half of the size of a stem.
- Unit base shapes with pathfinders.
INSTRUCTION
Begin with rough sketches or ourselves then upon approval we can begin the
digitization of our drawings, software for digitalization that is allowed
to use is Adobe Illustration. The letters that we will be designing are a
e t k g r i y m p n . , ! # . We need to use the 10 types of font that are
given by Mr Vinod.
The purpose of this task is for us to learn how to create a good typeface
- subtlety, character, presence, legibility and readabilsuitable Begin with
research, sketches, and identifying and deconstructing references.
For Task 3, we are to design the letters: a e o t k g r i ! , .
#
The purpose of this project is to allow us to understand more and
better how to create a good typeface - subtlety, character, presence,
legibility and readabilsuitable Starting with research, sketches, and
identifying and deconstructing references. Software: Adobe Illustrator
and FontLab 8.
Task 3: Type Design and Communication
1)Research on type design
Fig 1, Typography basics (20 October 2022, Week 7)
As mentioned in the lecturer's video, when creating our own font design
it has to adhere to the typography guidelines such as baseline, median,
ascender and descender, as well as typography basics. Hence we need to be aware of all the elements that is been
shown. an example shown above in 'Fig 1, Typography basics.'
Fig 1.1, Overshoot (20 October 2022, Week 7)
A word is been mentioned in the lecture's video is Overshoot. Thus
Overshoot means optical illusions or technical reasons. Hence, although
all the letters are not the exact same height, the round shapes are
slightly bigger. If the letter rounded parts are not slightly
bigger, the letters will seem disproportional. This is due to the rounded
shapes appearing smaller than geometric shapes.
I wanted to create a Humanist Sans Serif typeface, so I did some research
to find all those sorts of fonts. As sans serif typefaces are often used
to signify something that is clean, minimal yet modern. Examples of Human
Sans Serif include
Merriweather Sans and Cabin. There is
some examples of Humanist Serif include
Spectral,
EB Garamond,
and
Sorts Mill Goudy.
Although Humanist San Serifs usually has higher contrast than typical sans
serif, often work well for long text. Humanist sans come in a broad
spectrum of styles with some influenced more by traditional serif
typefaces.
Fig 1.2, Cabin font (20 October 2022, Week 7)
Fig 1.3, Merriweather Sans (20 October 2022, Week 7)
After I did my research, I started searching through the ten provided
typefaces provided by Mr Vinod, to find the one that is most similar to
the humanist sans serif. I find out that Serif Std is quite close to
Humanist Sans Serif.
2) Sketches
Fig 2, Font Design Sketches (27 October 2022, Week 8)
I created a few sketches using the digital pen tool. For Fig 2 I
started sketching it out without referring to the other fonts, hence the
strokes and the alignment are not synchronized. In class, Mr Vinod also
pointed out that the guidelines are incorrect as well thus we need to
readjust and do more research on where should the uppercase letter should
land on the cap height to the baseline whilst the lowercase letter lands
on the baseline to the descender line.
3. Digitalise font design
Fig 3 Guides, (28 October 2022, Week 8)
Guidelines are introduced in the demo video by Mr Vinod, using the
letters "Tyd" using the font of Myriad Pro Regular. After watching the
video, we are allowed to use create our own measurements however the
square needs to be 500pt to 500pt. I need to ensure that the x-height is
500 pt and that the height of the white artboard was 100 points.
Ascender height: 725 pt
Capital height: 700 pt
Median: 500 pt
Baseline: 0 pt
Descender: - 210 pt
4. Deconstruction of Serif Std's in lowercase
Fig 4, Deconstructing the four letters of a,g,f,r from Serifa Std.
(28 October 2022, Week 9)
Using the basic guidelines is essential when comes to understanding and
designing a typeface before creating our own typefaces. I used the letters a,g,f, and r in the lowercase
letter, and make sure the letter are on the cap height, baseline and
descender line.
Fig 4.1, Deconstruction of Serifa Std's lowercase 'f' (28 October 2022,
Week 9)
Fig 4.2, Deconstruction of Serifa Std's lowercase 'r' (28 October 2022,
Week 9)
From this deconstruction, I noticed that Serifa Std designed their
strokes quite even, however, the spacing between the strokes is not
even, as one can notice for the letter of 'f' the space on the right side is much wider
than the left side. Besides that, the upper horizontal stroke is
longer than the bottom one. The overshoots are slightly past the tip of
the ascender line and it also reaches the cap line.
Fig 4.3, Digitalize sketch #1 (29 October 2022, Week 9)
I used Adobe Illustrator to digitize each of the characters, the main
design was to create a squarish typeface.
Fig 4.4, Digitalize sketch #2 (29 October 2022, Week 9)
Fig 4.5, Digitalize sketch #3 (29 October 2022, Week 9)
With regard to feedback received in Week 10 by Mr Vinod, I realised that
in Fig 4.3, the strokes are not being balanced and are not in sync, hence
I need to continue to make adjustments to my typefaces.
Fig 4.6 Further readjustments from Fig 4.3 (2 November 2022 Week 10)
After collecting feedback from Mr Vinod, I made further refinements and readjustments to my typefaces.
Fig 4.7, Further readjustment of the letters. (2 November 2022, Week 10)
I tried to refine my typefaces by slanting the letters, and for the letters that have space in between such as a, e, g, and p, I refine their strokes as an impression of 'they are speaking.'
Fig 4.8, zoomed in for details of the letter 'g' (2 November 2022,
Week 10)
Zoomed in for more details, hence the very top left the strokes are slanting as well as the bottom one, however as we can see that the top one is facing downwards and the bottom strokes are facing upwards.
Fig 4.9
Zoomed in on details of the typefaces and the measurements. (2
November 2022, Week 10)
Ascender: 725 pt
Cap Height: 700 pt
Median Line: 500 pt
Baseline: 0 pt
Descender: - 210 pt
Now the typeface is all ready and was finalized within Adobe Illustrator,
It was time t generate it into FontLab, by doing so allows people to
download the font and use it. I decide to name the font ' ChriS Diff'
combining my name and 'Diff' which meant 'difficult' as in my opinion,
designing a font is not that easy.
Final Task 3: Type Design and Communication
Fig 5.1 Final Type Design in Wireframe view. (7 November 2022, Week 11)
Fig 5.2 Final
Type Design in Wireframe view after united. (7 November 2022, Week 11)
Fig 5.3 Final Type Design in JPEG format. (7 November 2022, Week 11)
Fig 5.4 Final Type Design in PDF format. (7 November 2022,
Week 11)
Reference:
Font download:
*If you cannot preview it is okay, you may proceed to 'download' and remember to 'install' on your laptop and there you go!*
Google Drive: link_ to_download_Font ‘ ChriS Diff’
Fig 5.5,
Screenshot of the typeface in FontLab 8, presenting the metrics
table. (7/11/2022, Week11)
POSTER JPEG
Fig 5.6, Final poster in JPEG, (7/11/2022, Week11)
POSTER PDF
Fig 5.7, Final poster in PDF, (7/11/2022, Week11)
REFLECTION
Experience
In my experience, this task is quite a challenge for me, creating and figuring out a font design was a little difficult for me. During the process, I need to ensure the styles it needs to be in synchronized and it needs to be consistent. Although I started with difficulty, on the other side is also an interesting task. I was experimenting with different font types, from classic serif types to abstract shapes, moreover, I have more understanding of the details of each typeface and how is it different compared to the other font. Furthermore, I find FontLab is actually quite fun, is a tool that allows designers to upload their designs, can make some arrangements such as kerning and don't have to worry about copyright. One of the fun facts, while I was exploring FontLab, is I can even create my own 'space' before the task I thought 'space' is defaulted it cannot be changed, but now I know it can.
Throughout the task, my appreciation and respect for typographers and good typeface designers in general increased.
Observations
Designing a font or typeface requires a lot of time, research, studies and observational skills is needed. I also discovered that not all font design is equal. Besides that, creating fonts requires more attention even to the small details of each letter and how they will look, and compliments each other overall. Moreover, when designing a typeface due to the illusion it creates when looked at from afar. Other's student's work is very interesting and creative, looking through their design can determine the designer's style.
Findings
Today, the world is changing rapidly in innovation, technology, medicine, education and design as well. The rapid advance of technology and the expanding role of visual media-based communication in contemporary society have forced changes in typography education. We need to keep improvising ourselves to meet society's expectations, thus creating a font required a lot more innovative spirit, and the ability to meet the standards of contemporary design practice and ensure consistency.
FEEDBACK
Week 8 - Is self-independent learning, thus no feedback from
this week.
Week 9
General Feedback: When designing a letter, we need to do a
deconstruction first to study the font that we selected on the 10 types of
fonts that are provided by Mr Vinod,
Whilst studying the font, it shows a lot of things, for example, sometimes
the bottom line of the letter is not parallel or the strokes are not in
sync. Moreover, when creating our own font, we need to ensure that the
strokes should be the same.
Specific Feedback: Insufficient research, thus the letters from the
sketch are not located correctly regards the ascender and descender
lines. Lots of mistakes that need to redo.
Week 10
General Feedback: Ensure the baseline is consistent, and also
bear in mind that, what the letters will look like when they are next to
each other, thus kerning is crucial to ensure the
spacing. If trying to slant the letters, ensure that they
are slanted on the same axis and opposite each other.
Specific Feedback: For Fig 4.3 the designs look similar to the lecture
video and some of the letters are not appropriately located by using the
basic guidelines. Fig 4.4, the design, it looks weird as the strokes are
too thin and the other strokes were too thick thus when combining it
together it looks weird.
Week 11
General Feedback: Make sure that the entire process work is thoroughly documented, especially including the images of the wireframe view to know how the typeface was developed. Make sure that all the requirements are presented on the blog.
The 4 most important that need to be present:
1) The 15 letters needed to be presented in JPEG & PDF
2) The image of the wireframe of our own typefaces.
3) A link that allows people to download and it is able to use.
4) Poster in JPEG & PDF
Specific Feedback: Fig 4.6, the letter 't' maybe can add one more stokes on top of it or bottom, and the letter 'i' maybe can delete the unnecessary one of strokes at the top of the square.
Week 12
General feedback: Ensure the point size is the same, and for "font name created by us, our name and the year' it should be Helvetica and size 12pt. We need to practice principles of symmetry to create balance and balance is crucial there is a rule which are the point size should be the same. Create a vision impact by the font size that we displayed.
Specific Feedback: The poster is interesting, however, it can be bigger and for the "creator name" it should be 'by Christine Tan Yuen Yan' not 'Christine Tan Yuen Yan'.
FURTHER READING
Fig 6. Typographic design: Form and Communication (2015)
Reference:
Carter, R., Day, B., Meggs, P.B., Maxa, S., & Sanders, M. (2015).
Typographic design: form and Communication.
Hoboken, New Jersey: John Wiley & Sons, Inc.
Fig 6.1 Letter/ Digit Configurations
Chapter 11 Typography Design Education
Combining letters from the English alphabet and single-digit numbers. Attention to scale, proportion, weight and shape relationships between the two different signs were explored.
Fig 6.2 Letter/ Digit Configurations.
I think that it is interesting that combine numbers and the alphabet into a visual gestalt, and it can be understood the variety of spatial relationships that can exist among the characters. Besides, the compositional issues are in a dynamic asymmetrical composition.
Fig 6.3
Chapter 12, Typographic Design Process by Designer Drew.
Fig 6.4
Chapter 12 Typographic Design Process.
Before encountering any Typographic knowledge, I always thought that Typographic is just simple letter, the thought of observing our surroundings could be a hint to create new typefaces in future was never encountered to me, hence while I was reading, I like the ideas of how designers got inspired by just observing their surrounding even just a little object and created an interesting composition and typography.
For Fig 6.3, A process that a designer cannot avoid is sketching out our ideas, and trying to improvise them. the whole process of inspiration is from a simple object of discovery of a paper clip with its curves. For Fig 6.4, when bending the paper clip it created unique shapes and letterforms thus the roundness of the letters is inspired by the details of the objects, in an efficient preparation and minimal form.
Fig 6.5
Chapter 12, Typographic Design and Process
Seeing these sketches provides me with the idea of doing my sketches on dotted grid paper so it helps with the structure of my font design.
A modular grid imposed a structural system for the type. A grid creates a geometric look and feels to the letterforms. Working with a grid presents us with the unique challenge of working both with and against established models, patterns and confirmities, to allow us while designing our font, can deliver the message correctly to viewers.
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