Typography Task 3: Type Design & Communication
|21.11.2023-12.12.2023(WEEK 9-WEEK 12)
|Tang Chin Ting [ 0366473 ]
|Typography/
|Typography/
|Bachelor of Design (Honours) in Creative Media
|Task 3: Type Design & Communication
|Task 3: Type Design & Communication
INSTRUCTIONS
SUBMISSION
Task 3A: Type Design and Communication
Figure 1.1 Instructions
InstructionsMy goal will be to design a typeface with all the qualities that make a successful typeface: presence, readability, legibility, and variation or character. The letters you will design are listed below: o l e d s n c h t i g , . ! # After finishing the typeface, I will design a simple A4 poster that showcases your font (further details will be covered in class).
Briefing Exercise
We needed to select a preferred font from the 10 fonts provided. Using the following letters H, o, g, b,
do a detailed dissection of the letters. After that, we were also required to write an observation in our e-portfolio through this exercise. I decided to choose the Univers LT Std font type during this exercise.
Figure 1.2 Briefing Exercise
By studying and recognizing the various components that make up letterforms, such as the spine, stem, and stroke, we gain a deeper understanding of how each element contributes to the overall appearance and legibility of a typeface. This knowledge enables us to make informed decisions when selecting and working with typefaces, so they align with the intended tone, purpose, and message of a design.
Research
As the first step, I did research via GOOGLE about typeface design, I came across a lot of interesting designs that I had never seen before, and I felt very excited. There were several typefaces that had been chosen to be a reference for my sketches.
Figure 1.2 Research
This research has given me a lot of ideas to create a new typeface, so I would like to choose one of these examples as a preference to do the following steps. I thought I mostly liked the #4 typeface, which was something like the Robot Typeface.
For the second step, we were required to prepare the materials which included: Graph paper + 3 marker pens (your choice but must be 3.0 above). We needed to create a typeface that used these materials and draw it on the graphic paper.
Figure 1.3 & 1.4 Sketches
According to my research, I chose the third sketch using the grey color pen as my reference. After this, I tried to digitize the words in Illustrator.
Digitization
To begin the digitalization process, I had to establish the guidelines. This exercise's crucial stage helped us coordinate the text and visual elements. To ensure that all of our typefaces are the same size, we may also utilize guidelines as a point of reference. I commonly drew shapes with the pen tools and assembled them to form an alphabet.
Figure 1.5 Processing
Figure 1.6 Processing
Figure 1.7 Processing
Figure 1.8 Processing
I was processing the words O L E D S N C H T I G , . ! # .........
My first digital drawing was finished in one hour and a half. However, I still believe that there should have been some adjustments performed to my first designs. The figure appeared a little disorganized when I first took a look at it. Despite my repeated adjustments, it was still unable to meet my expectations.
Figure 1.9 Processing
Figure 1.10 Processing
Subsequently, I attempted to modify the font sizes and inter-font kerning. I felt that after my adjustments, it looked better. I set up two artboards so that the before and after could be compared.
Figure 1.11 Before and After Adjustment
This was my final sketch, I was wondering about the comments from our lecturer in the next class.
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Figure 1.12 First Sketch
For this assignment, I also prepared the second sketch. To make the second drawing seem interesting, I typed out the entire sentences using the Bembo STD typeface first, then I utilized pen tools to create various forms.
Figure 1.13 Processing
Figure 1.14 Processing
This sketch had been chosen, but it still had several things that needed to be adjusted.
Figure 1.15 Processing
I modified the alphabet 'O', 'E', 'S', 'T', and 'G' based on feedback from Miss Low. Miss Low redrew a 'O' for me using the shape of a 'D' as a guide. The subsequent modifications to 'G' were likewise determined by the form of 'O' given by Miss Low. The drawings seem better organized as a result.
Figure 1.16 Processing
Figure 1.17 Processing
After this, we started designing the punctuation. Miss Low advised that the horizontal line of the hashtag could not be inclined so that it would look better after adjusting it. Next, she also gave me an example for the comma and I need to redo it for it radian.
Figure 1.18 Adjustment
Figure 1.19 Adjustment
The letter 'H' may exhibit similar curves to the letter 'N' in its horizontal line. To ensure that each alphabet was the appropriate size, I attempted to spell out a few words using the font styles I created. After adjustment, I asked for Miss Low feedback for the final outcome.
Figure 1.20 Adjustment
Figure 1.21 Adjustment
Figure 1.22 Adjustment
This was my final outcome for task 3. For the next step, we needed to place our typeface into FontLab 7 after we had downloaded the app. After placing all the forms, I tried to adjust the space between the alphabets.
Figure 1.23 Font Lab
Figure 1.24 Font Lab
I then began typing a few sentences. I felt very accomplished to have really designed a new typeface on my own. I then had to use the typeface I had created to create a poster.
Figure 1.25 Font Lab
Final Task 3: Type Design & Communication
Link to Download Font:
https://drive.google.com/file/d/1bVsY4BPIIt0SLon1jOCd0d4NyMDuoDO_/view?usp=sharing
Figure 1.26 Final Task 3: Type Design and Communication
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Figure 1.27 Final Task 3: Type Design and Communication JPEG
Figure 1.28 Final Task 3: Type Design and Communication PDF
Figure 1.29 Final Task 3 Poster JPEG
Figure 1.30 Final Task 3 Poster JPEG
Figure 1.31 Final Task 3 Poster PDF
FEEDBACK
Week 9
General Feedback: When passing up our drawings with a photo, we must ensure that the photo's brightness is appropriate. This is to prevent the typeface from seeming unclear to our instructor when she views our designs.
Specific Feedback: Miss Low, our lecturer, inquired as to which of my sketches I preferred. She then selected my sixth sketch. She revised another sketch based on my drawings, and I was then required to use the revised sketch by our instructor to complete the final sketches.
Week 10
General Feedback: The middle of the letter 't' must be placed above the x-height which was the same as the dot of the letter 'i'. Also the letter 't' must be as tall as achieve cap height guideline.
Specific Feedback: Although my sketches are good, I am unable to utilize them for this project. Perhaps I will be able to use this design future. For the alphabet, I have to redo the 'E' and change the size of 'O' as they are not acceptable. The 'O' should be straight, my design looks awful because it looks just like the italicized version. The 'E' is a challenging character for the reader to decipher, because it is similar to the old one. 'G' has to be redone using the modified shape of 'O' that our lecturer provided. 'T' and 'S' should also be changed.
Week 11
Specific Feedback: The letters "G," "D," and "E" must have the same size as the letter "O." Miss Low suggested that the horizontal line for the letter "H" could be the same as the center of the letter "N," giving it a little curvature. It would appear more appealing. In addition, Miss Low showed her illustration of my punctuation. She provided me an example with my hashtag and comma. She also changed the exclamation mark's top to be slightly curled, aside from these changes.
REFLECTIONS
- Experience: This was a challenge that excited me much. It touched on a lot of topics that I had never done before, including utilizing FontLab to create a typeface. I used Google to conduct a lot of research before documenting my progress, and I came across several amazing font varieties. I got a lot of ideas for my project from here. In addition, I tried using FontLab for the first time. It was a little challenging at first, but I was able to finish it.
- Observations: Taking notes from our instructor, Miss Low, I noticed that each alphabet was distinct in both height and size. Certain little characters, like 't, l, and h,' for instance, need to meet the cap height requirement. Additionally, the horizontal line of the letter "t" must be observed with x-height guidelines. Everything said above helped me realize that designing a new typeface was not an easy task. However, I would keep this knowledge in mind and use it later.
- Findings: I learned a lot working on this project, no doubt about it. I learned that the most crucial element in design was typography. whether it be in a logo, poster, application, or something else entirely. A clear message might be conveyed with excellent typography. In this assignment, I was asked to craft my own typeface and apply it to the poster. I feel touched as I find my hard work really does work out, I was able to have my own typeface which is designed based on the ideas that popped up in my mind. This hands-on experience enabled me to foster my creativity, as I was asked to finish crafting and making posters individually.
FURTHER READING
Type is Everywhere
It is an example in Japan, there are no road signs, no price tags, and no instructions of any kind. Imagine living in a world devoid of typography. You could indeed live without some of the commercials that you see everywhere, but you wouldn't even know what was inside the packages that were left on your breakfast table. Indeed, they have graphics on them. For example, grazing cows on a paper carton indicates that milk is inside, and pictures of food on cereal packages entice you to eat. However, when you pick up salt or pepper, what do you check for?
This puts newspapers and typefaces back into focus. When you read your daily newspaper, it may seem quite clear and typical to you, but what's actually the result of meticulous preparation and applied art. Even seemingly disorganized newspaper pages are organized using intricate grids and rigid hierarchies.
Although some people find it amusing to stimulate their hunger for food or typography (wine labels, chocolate boxes, or candy bars, for example), most of us do not find the equally common form of printed communication—forms—to be enjoyable.
Neither the fonts they are set in nor some of the most ubiquitous typographical messages have ever been really developed. The decision on the design of the signs on our highways and motorways has to be made by some engineer, administrator, or accountant working for a government department. This individual most likely organised a committee comprising additional engineers, administrators, and accountants. This committee then likely went to a panel of experts comprising road safety experts, sign manufacturers, lobbyists from auto-mobile associations, and additional engineers, administrators, and accountants.
What Is Type?
There have been countless of variants on the topic, but the fundamental forms of our letters haven't altered much over hundreds of years. To create initials or typographic decorations, people have created alphabets out of human figures, architectural details, flowers, trees, tools, and a variety of other commonplace objects (see right). However, reading typefaces are typically created from handwriting.
The 1950s generation, who were the first to grow up with television, is still modeling and daydreaming about the lives that are portrayed on television. The generation that comes after this one was raised on the internet, in virtual reality, and through music videos. Our "natural" norms of perception are called into question by the manipulation of sounds and visuals, the creation of fake realities, and the experience of living in man-made environments. Additionally, type and typography reflect this, as they have with every technical and cultural advancement in the previous two millennia.
Even if something is improperly placed, terribly designed, or badly printed, we read best what we read most of. This is only a reminder that some pictures are embedded in the reader's memory and not a replacement for excellent typeface, design, or crisp printing.
Very few individuals, if any, would wear the same shoes for running a mile, walking to the office, climbing the north face of the Eiger, or dancing. Your feet may essentially remain in the same shape, but for them to accomplish all of the aforementioned duties and many more, they require various forms of protection, support, or even improvement. This holds true for types as well. Sometimes the letters have to work hard to convey simple information, like facts or figures, or they might have to slightly alter the words to make them sound friendlier, cozier, or just more attractive.
Type With A Purpose
Selecting fonts for a design project is quite comparable. There are certain types of faces that you are acquainted with. You know where they are, and you know how they will act in specific situations. Conversely, there are those stylish types that you've always wanted to work with, but you're not quite sure if this is the best position to try out new things on. This is similar to picking out shoes for your trip: trendy shoes hurt, but comfy shoes aren't the height of style. Maybe you might put up with them for a quick get-together, but not for shopping, much less a trek across the countryside.
Brands need to communicate in their own genuine language. Visible language is typed. A boring or overdone typeface will render the brand, its goods, and its medium equally uninteresting, if not invisible. It used to be costly, difficult to apply technically, and tough to develop an exclusive typeface. Not any longer. Corporate typefaces have grown to be a significant source of work for type designers, whether they are used as a single weight for a packaged item or as part of a vast system for everything.
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