|| 27/06/24-22/07/24 (Week 09 -Week 13)
|| Sun Jia Yi / 0370449
|| Typography / Bachelor of Design (Hons) in Creative Media
|| Task 3: Type design and communication
TABLE OF CONTENTS
3.1 Research
3.2 Ideation
3.3 Final Outcome
1. LECTURES
Week 9
In week's 9 class, Mr. Vinod showed us a brief description of Task 3 and demonstrated how
to create a font with shapes and strokes.
Task 3 brief:
- Research- type design
-Sketches
-Identify references - from the 10 typefaces: which of the 10 given
fundamental font types and develop ideas based on the selected
font.
Figure 1.1: The 10 fundamental fonts, Week 9 (01 July)
The anatomy of Typography to consider:
- Ascender height
- Cap line
- Medium line(median line)
- Baseline
- Descender line
Notes:
- X height must be 500 points(500 × 500 pt).
- Overshoot: Optical/ technical reasons.
- Use pathfinder to unite base shapes.
Week 10
Take the letter E for example. The top and bottom strokes are both
adjacent to the cap-height and baseline. In contrast, if you look at the
letter O, only a small portion of the top and bottom touch the cap-height
and baseline.
The special cases where you want to use overshoot are on rounded parts
of letters like C, O and S. You'll also want to overshoot the pointed
parts of letters like A, M and V because the same issue occurs: There
isn't a significant portion of the letter touching the invisible
guidelines. This principle is not only limited to capital letters. Be
sure to use it on lowercase letters too.
Figure 1.2: Overshoot, Week 9 (01 July)
Figure 1.3: Overshoot, Week 10 (11 July)
Roughly speaking, the comma is the height of two stacked periods.
The head of the comma ought to be somewhat smaller than the
period.
Figure 1.4: size of comma,Week 10 (11 July)
Week 11
Downloading FontLab 7 (Demo version) is required. The final must be
completed in the D7.04 Mac Lab in its entirety.
Verify that the forms that comprise the font are joined and that
there are no anchor points that are too near to one another before
importing the typeface.
Before importing, we must change a few of these settings.
- Preference > Copy > Import original position; AI
vector format is preferred.
Figure 1.5: Peferences setting, Week 11 (15
July)
Before exporting the fonts form the fonts lab need to reset the
fonts info:
Figure 1.6: Font lab, Week 11 (15 July)
Also need to open the metrics and adjust the sideberaing and
kerning about these fonts.
Figure 1.7: Metrics table, Week 11 (15 July)
2. INSTRUCTIONS
This is the Module information booklet for this module:
Document 2.1 Module Information Booklet (MIB) of Typography
Task 3: Type Dissection:
We were presented with the assignment of utilising Adobe
Illustrator to deconstruct the letters "H," "o," "b," and "g" in
detail. Out of the ten typefaces offered, we must choose a
favourite. ITC New Baskerville are my choices.
ITC New Baskerville:
The ITC New Baskerville design has a friendly, appealing vibe and is
incredibly readable. It is attractive to the reader in addition to
being simple to read. Character integrity and readability should be
assessed for on-screen textual material due to the design's noticeable
contrast between thick and thin strokes.
Figure 2.1: "H" for ITC new Baskerville, Week 11(16
July)
Figure 2.2: "O" for ITC new Baskerville, Week 11(16 July)
Figure 2.3: "g" for ITC new Baskerville, Week 11(16 July)
Figure 2.4: "b" for ITC new Baskerville, Week 11(16 July)
Task 3:Type Design
1) Sketch
We were given the task of utilising the three pens to sketch the
following letters: ODHNG / odhng.
For the pen, we must investigate several writing styles.
The pen I used:
- Artline Calligraphy Pen
Figure 2.1.1: "b" for ITC new Baskerville, Week 11(16
July)
Figure 2.1.2: Sketch 1(Artline calligraphy pen), Week 11(16
July)
2) Research
After the Mr Vinod suggestion I will choose the NO.3 of my sketch. And
then I started my research.
An alphabet built from a finite set of forms, or modules, is called a
modular font. Any letter that is put together using a small set of unique
components and is repeated, flipped, and flopped but not scaled is said to
as modular.
Figure 2.2.1: Modular typeface reference, Week 11(16 July)
Later I try to explore more characteristics for the typefaces and then
I create the new sketch.
Figure 2.2.2: Sketch 2,
Week 11(17 July)
3) Digitisation
Figure 2.3.1: Guides and digitalised font design, Week 11(17
July)
Figure 2.3.2: Grids of digitalised letters- original and variant, Week
11(17 July)
I created a variant version (new version) , partly for fun, but
also because the original draft font was too minimalistic
without much objectivity. Personally, the variant is more in
line with my style, because of the flat features, I think it
looks more dynamic and suits my way of expressing myself. The
original version, on the other hand, gives a more “raw” feeling:
poor readability” and other characteristics.
Figure 2.3.4: Final Type design with grid, Week 12(19
July)
Figure 2.3.5: Final Type design, Week 12(19 July)
Type information (from baseline)
- Ascender: 664 pt
- Cap line: 614 pt
- Median Line: 500 pt
-
Descender: - 181 pt
-
Overshoot: 11. 2pt
4) Export to Font lab
Figure 2.4.1: Copying and Pasting the letters into FontLab 7,
Week 12(19 July)
Figure 2.4.2: Copying and Pasting the letters into FontLab 7,
Week 12(19 July)
Following the example in the demo film, I completed the
individual kerning for every glyph in the metrics tab of
FontLab7 after pasting all the letters. Moreover, I
completed the 'font info' page with the font's dimensions
(height of ascender, descender, etc.).
5) Type final design output
Figure 2.5.1: Type design & communication "Planar"
(JPEG), Week 12(19 July)
Figure 2.5.2: Type design & communication "Planar" (PDF),
Week 12(19 July)
6) Black & White poster design
We were given the task of designing an A4-sized poster
after choosing a typeface. I utter the phrase "#"SET THE
TONE..... SEE THE LIGHT!" in my speech.
These are the sketches I created for my poster
design:
Figure 2.6.1: Sketch for poster design, Week 12(20
July)
After the sketch I made some changes about my poster
design.
Figure 2.6.2: Final Poster design(JPEG) , Week 12(20
July)
Figure 2.6.3: Final Poster design(PDF) , Week 12(20
July)
3. FEEDBACK
Week 9
General Feedback: Use your skill to demonstrate the letters"
o l e d s n c h t i g , . ! # " in the approved style and be
creativity.
Specific Feedback: The letters style is not creative maybe can change to another
one. Maybe can change something based on my original design about
my letters . Do more research about the typeface I choosed (have
more understanding the used of typeface)
Week 10
General Feedback: Do some research about tutorial video and watch them carefully
before start your letters.
Specific Feedback: Make sure your letters have unique
characteristic.
Week 11
General Feedback: Make sure u did the overshoot if need and
then import to the Fontlab.
Specific Feedback: The weight of letter " e" is too heavy. Adjust the spacing of
every letters.
Week 12
General Feedback: Complete all design work before importing it into
FontLab.
Specific Feedback: Adjust the sidebearing and kerning of the letters in the
Fontlab. And make sure when your export the letters place the
letters in the X and Y position.
Week 13
General Feedback: -
Specific Feedback: Make an effort to match the font's characteristics to the
poster's design.
3. REFLECTION
3.1 Experience
I created my best typeface design to date in this module. The process
of creating my first typeface design was fantastic. I found it to be
really exciting. I gained knowledge about the entire font design
process from this module. I also studied a great deal of font design
theory. I'm happy we had the chance to design our own typefaces for
this project. I developed my practical skills and observational
abilities while also learning the fundamentals of font design and what
constitutes a good font through this endeavour.
3.2 Observations
The thing that most surprised me about this module was how typography
might appear easy and uniform, but it's not. When creating a typeface,
it is crucial to conduct extensive research on these subtleties and
features, observing and replicating them to determine the impact of
the minutiae on the typeface's character, readability, and overall
appearance. Overshooting is one instance of this, particularly with
rounded typefaces. as well as how a typeface's left and right sides
are weighted.
3.3 Findings
In the process of creating fonts, I've discovered that it takes a lot
of effort, time, study, tolerance, and sensitivity. The significance
of contrast between the stroke and stem widths is one of the things
I've learned. Letters lack personality and are uninteresting without
contrast.
4FURTHER READING
Figure 4.1: Typographic design: Form and communication, Week
12 (20 July)
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.
Figure 4.2: Typographic design education- flowering
typography,Page 199.Week 12 (20 June)
-The link between positive and negative space is known as the
inverse form.
- Configuring type and image in a novel way visually.
This module, I've been attempting to create my fonts in the
shape of anti-forms. It's a rather inventive method of combining
letter and image, in my opinion. Using anti-forms is challenging
because the letters need to be readable and clear. I believe
that creating fascinating typography can be achieved by
experimenting with anti-forms between typefaces and
images.
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