Typography | Task 3: Type Design & Communication
11 Nov 2023 - 17 Dec 2023 | (Week 8 - Week 12)
Task 3| Type Design & Communication
Afterward, I selected all the created fonts, converted their paths into
shapes, and merged them together. Next, I made adjustments to
refine imperfections, ensuring a smoother overall appearance.
Finally, this was my first completed outcome after incorporating feedback
from Mr. Vinod, where I made adjustments to several letters and
punctuation marks as advised.
Figure 3.6.2 Final Type Design and Communication "Minimalist" -
jpg | Week 12 (15/12/23)
Chan Xiang Lam | 0358400
Typography | Bachelor of Design (Honours) in Creative Media
Task 3 | Type Design & Communication
3. Exercises
LECTURES
All lectures 1 to 7 completed in Task 1
INSTRUCTIONS
EXERCISES
In this assignment, we're tasked with selecting one preferred font
design from a set of ten given fonts. We'll commence by sketching rough
dissections of letters, focusing on three specific letters (o l e d s n
c h t i g , . ! #). We're limited to using only circles, squares, or pen
tools to outline the contours of these letters, allowing us to analyze
the intricate details of each. This dissection process aims to provide
us with a deeper understanding of how these letters are constructed.
1. Research on type design
Type design involves creating fonts or
typefaces. There are five primary classifications:
- Serif: Have decorative strokes at the ends of letters, often used in traditional print media like books.
- Sans Serif: Lack decorative strokes, considered modern and used widely in digital formats.
- Script: Mimic handwriting or calligraphy, offering a more personalized or formal touch.
- Monospaced: Characters occupy the same horizontal space, commonly used in coding and programming.
- Display: Decorative and eye-catching, suitable for larger sizes like headings or logos.
Each type classification serves different design purposes and
contexts, influencing readability, style, and aesthetic appeal.
Figure 3.1.1 Typeface Classification
2. Deconstruction
I am required to selecting a font
that best aligns with our design from the provided ten options, it's
beneficial to analyze and deconstruct the letterforms using the letters
'H,' 'o,' 'g,' and 'b.' Focusing on lowercase letters with ascenders,
descenders, and x-height, as well as examining capitals for their cap
height, allows for a more comprehensive understanding of how each font
embodies the desired characteristics and style within the design.
Figure 3.2.1 Deconstruction of Futura ST
3. Sketches
Before digitizing the letters O, D, H, N, G, along with characters ., !, and
#, I experimented by sketching them using different pens to explore
various writing styles for each pen.
I created initial sketches on graph paper to maintain precision. After
considering Mr. Vinod's feedback, I ultimately chose the design using
the 3.0 marker pen.
Figure 3.3.1 Sketch 1 | Week 7 (10/11/23)
Figure 3.3.2 Sketch 2 | Week 7 (10/11/23)
Figure 3.3.3 Final Sketch style | Week 7 (10/11/23)
4. Digitalization
Based on Mr. Vinod's demo video, the
guides were created using the font Myriad Pro Regular and the letters
"Tyd." They included important typographic elements like ascender
height, capital height, mean/median line, baseline, descender line, and
x-height.
Figure 3.4.1 Measurement of letterforms | Week 8 (17/11/23)
Figure 3.4.2 Brush options that I use | Week 8 (17/11/23)
After establishing my guidelines for the baseline, x-height,
ascenders, descenders, and cap height, I began constructing the
letter using the brush tool that I had previously configured.
Figure 3.4.3 Digitisation Process 1 | Week 9 (20/11/23)
Figure 3.4.4 Digitisation Process 2 | Week 9 (20/11/23)
Figure 3.4.5 Typeface Outcome | Week 10 (27/11/23)
5. FontLab
After finalising the typeface design in
Illustrator, I utilised FontLab for font development and
export.
Figure 3.5.1 FontLab Process 1 | Week 11 (4/12/23)
Figure 3.5.2 FontLab Process 2 | Week 11 (4/12/23)
Following the steps demonstrated in the video, I meticulously adjusted
the kerning for each glyph within the metrics tab, having imported all
the letters. Furthermore, I inputted font specifics and measurements,
including ascender and descender height, into the 'font info' tab.
Figure 3.5.3 FontLab Process 3 | Week 11 (4/12/23)
Try typing characters from the set — { O L E D S N C H T I G , . ! # }
FINAL OUTCOME
Figure 3.6.1 FontLab Screengrab | Week 12 (13/12/23)
Figure 3.6.3 Final Type Design and Communication "Minimalist" - pdf | Week 12 (15/12/23)
Figure 3.6.4 Final Poster, jpg | Week 12 (15/12/23)
Figure 3.6.5 Final Poster, pdf | Week 12 (15/12/23)
FEEDBACKS
Week 8 (17/11/23) :
General Feedback - Independent learning week
Week 9 (20/11/23) :
General Feedback - Maintain a consistent pen angle. Focus
on stroke consistency, speed, and pressure variations. Ensure
uniformity in strokes for accuracy, emphasising smoother lines for
precision.
Week 10 (27/11/23) :
General Feedback - For the e-portfolio: Ensure clear and tidy documentation, consolidate images to save space, emphasise progress updates, add quick links and a top-of-page return link for better navigation.
Specific Feedback - Optimise the digitalization process, rectify inconsistencies in
serifs, and refine the curves of the letters's' and 'c' for smoother
flow, ensuring visual consistency among letters.
Week 11 (04/12/23) :
General Feedback - Remove unnecessary anchor points to simplify the letter shapes.
Maintain uniformity across all letters. Start importing the font
into FontLab.
Week 12 (11/12/23) :
General Feedback - Create an A4-sized poster using the fonts exported from
FontLab, following the provided instructions. Export the
corresponding formats as specified and upload them to the Task
3 blog.
REFLECTIONS
Experience:
Exploring typography demanded attention to detail and adaptation.
Crafting my font involved dissecting existing typefaces and
maneuvering through digital tools like Illustrator and FontLab,
under Mr. Vinod's guidance. Designing within constraints, like the
single point size for an A4 poster, challenged creativity.
Observations:
Analyzing fonts revealed their intricate differences. Mastering
Illustrator's pen tool simplified letter construction, while
diverse peer designs broadened my perspective. Attention to
subtleties like serif endings enhanced typographic consistency.
The poster project showed myriad design approaches despite
limitations.
Findings:
Typographic exploration unveiled hidden intricacies. Pen tool
proficiency and understanding FontLab became assets. Lessons on
empathy in design and prioritizing consistency echoed. Achieving
uniformity in letter spacing and pushing creativity within
constraints were vital takeaways. Typography is about navigating
limitations for innovative expression.
FURTHER READING
Refer to Task 1
QUICK LINK
Task 1| Exercise 1 & 2
Task 3| Type Design & Communication
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