Typography - Task 3: Type Design & Communication
⭐ 6/11/2023 - 17/12/2023 (Week 7 - Week 13)
🎀 Yan Zhi Xuan | 0369425
💜 Typography | Bachelor of Design (Hons) in Creative Media | Taylor's University
📚 Task 3: Type Design & Communication
TABLE OF CONTENTS
1.
Lectures
2.
Instructions
4.
Feedback
5.
Reflections
1. LECTURE
WEEK 7 (6/11/2023): LECTURES
All lectures were completed in Task 1 - Exercises 1 & 2.
WEEK 7 (6/11/2023): TYPOGRAPHY TASK 3 BRIEFING AND DEMO
The lecture video playlist: Typography (BDCM).
Fig 1.1 Lecture: 'Typo Task 3A Typeface Construction (Shapes)'.
Fig. 1.2 Deconstructed "r".
Purpose of Deconstructing:
- Learn how the letters are formed with shapes.
- Observe the details and slight differences in thickness due
to optical/technical reasons.
- Study type appreciation and anatomical parts
(features).
Fig. 1.3 Guidelines.
1. Artboard: 1000 pt × 1000 pt
2. X-height: 500 pt × 500 pt (make a shape
500 × 500 pt).
3. Ascender & Descender: must be within the 1000 pt
× 1000 pt artboard.
4. Ctrl+R: artboard rulers
5. Overshoot: The curved areas tend to overshoot the
X-height of the borders of the letter.
6. Construct letterforms: combinations of Pen Tool
& Shape Tool to construct letterforms.
7. Counter space: Same amount of space
(thickness) between the 2 strokes/ half the size of the stem
(tighter).
Fig. 1.4 Construct the letterforms.
2. Direct Selection Tool: Minus the unnecessary anchor points.
3. Direct Selection Tool: Rounded some anchors/ corners of the
shapes (around 20 pt / 60 pt).
- Can develop all the different parts of the letter form.
- Can develop all the different parts of the letter form.
- After combining the shapes, you can do little nuanced designs for the
letter form.
- Take a little bit of exploration once you develop the basic structure;
you can try different combinations.
2. INSTRUCTION
Task 3: Type Design & Communication (30% - Individual)
Timeframe: Week 8 - Week 9
Deadline: Week 13
Description:
You will be tasked to design a limited number of western
alphabets. To begin, choose an existing font design that adheres
to the direction that you would like to head in. Study the font
carefully by analysing its anatomical parts.
Start with rough sketches, explore a variety of options and upon
approval begin digitization of the drawings—software for
digitization Adobe Illustrator and later FontLab. Artworks shall
be printed out for critique sessions followed by refinements. If
time permits we shall generate the font for actual use. Watch
the
video
before starting.
You will endeavour to create a typeface that has the hallmarks
of a good typeface; subtlety or character, presence, legibility
and readability. Below are the letters you will design: a e t k
g r i y m p n ! # , . Upon completion of the font, you will
create a basic A4 size poster displaying your font (further
instructions in class). Watch these two videos:
here
and
here.
Submission:
1. Eportfolio: All gathered information (failures, successes, epiphanies,
sketches, visual research, printouts, websites, images,
charts, etc.) must be documented logically and
chronologically in the eportfolio for the duration of the
task in one post.
2. Eportfolio: All
images/sketches/diagrams/scans must be
captured/photographed/scanned well, with good even natural
light, without shadows — use of tube/bulb/flash light is not
allowed. All images/sketches/diagrams/scans must be labelled
(fig 1, 2, etc.), described and dated. Final submission must
be indicated clearly (distinguishable from process work) and
uploaded as PDF and JPEG & .TTF (TrueType Font) or as
instructed in class.
3. (Only if instructed) Tasks to be documented in a
printed A4 enclosed in a Clear Sheet, logically and
chronologically. The works must be labelled and dated – use
pencil and write neatly.
Learning Goals:
1. To develop student’s ability to
construct a readable and legible font.
2. To develop student’s ability to design a font with
consistent characteristics premised on research and
analysis.
Doc. 2.1 Module Information Booklet of Typography.
3. TASK 3: TYPE DESIGN & COMMUNICATION
3.1 RESEARCH ON TYPE DESIGN
Type Design
Designing letterforms intended for eventual manufacture as fonts,
whatever the medium: lead, photographic, or digital.
Fig. 3.1.1 Font Categories. Week 8
(17/11/23).
How Typefaces Are Designed & Fonts Are Made
Type designers create typefaces and fonts, with software advancements
enabling a diverse range of designers. Fonts now have extensive
character sets and typographic features, offering more capabilities but
also requiring more time and skill. Font creation follows common
methods, but parameters and quality can vary greatly. Many fonts are
produced by type foundries and specialized businesses.
The Typeface Design Brief is Important
Writing everything down enables the type designer to steer their
creative and technical decisions to match the project’s requirements.
This may also help avoid the temptation of allowing the project to creep
beyond its intended goals, which can lead to a dramatic increase in
production time.
Fig. 3.1.2 Typeface Design Brief Example. Week 8 (17/11/23).
Fig. 3.1.3 Essential Terms in Type Design. Week 8 (17/11/23).
Process of Type Design
Phase 1: Hand-drawn Sketches
Type designers start with hand-drawn sketches of key letters to
create a harmonious group of letters, despite the final font being a
digital file. Designers typically begin with lowercase letters like "n" and "o" and
then capitals like "H" and "O". Consistency is crucial for reader
understanding, and as glyphs are drawn, adjustments may be made to
integrate specific shapes.
Phase 2: Digitalization
Once the conceptual phase is complete, the sketches can be
digitized.
Phase 3: Spacing and Kerning
Designers group initial letters into words during the drawing phase,
assigning sidebearings to each glyph to ensure a proportional amount
of space, ensuring a matching rhythm when grouped together.
Phase 4: Masters
Interpolation is a process where a type family contains multiple
styles within an axis, generating intermediate styles between
extremes. This allows designers to draw only the lightest and heaviest
styles.
Phase 5: Programming
Type designers can control font functionality through OpenType font
technology, allowing them to program glyph substitutions or
adjustments, either automatically or through user control. This can be
done for accented glyphs or stylistic alternates.
Phase 6: Mastering, Distribution, and Usage
Mastering is the process of designing and programming a font
without errors, and then exporting it as a TTF or OTF font. Font
distribution online has evolved, with options including direct
website access, library subscriptions, and rented fonts. Fonts are
subject to licenses, which can be libre or proprietary. Designers
and foundries create visual materials called specimens to promote
their designs and attract users, detailing their features, usage
examples, and text suitability.
Anatomy
The anatomy of letters is quite complex, every little detail and
element has its own term.
Fig. 3.1.4 Anatomy of letters. Week 8 (17/11/23).
Fig. 3.1.5 Punctuation marks, along with their names and proper usage. Week 8 (17/11/23).
Summary:
In typeface design, its primary purpose: is for immersive texts or short
display headlines. Its specific requirements include reading clarity,
operating in specific environments, supporting languages and characters,
and supporting alternate glyphs. It may require more weights or styles,
and its comparison to existing fonts is crucial for commercial and
creative reasons.
3.2 IDEA & SKETCHES
The Instructions:
- Explore 3 different writing styles for each of the 3 pens.
- Letters ODHNG / odhng using the 3 pens.
- Different options (sans serif/serif, uppercase/lowercase).
My Idea Sketches: I used three different pes with
different thicknesses (3.0 mm, 3.5 mm, and 4.0 mm). I chose to
sketch in lowercase (odhng) in different font categories (sans
serif, serif, handwriting, and script fonts). I tried a few times
to explore different handwriting styles. Eventually, I chose the
second attempt, pen #2 sketch, as the third writing style. After
that, I began writing instructed letters, o l e d s n c h t i g ,
. ! # in the chosen handwriting style.
Fig. 3.2.1 Sketches (First Attempt). Week 8 (17/11/23).
.jpg)
Fig. 3.2.2 Sketches (Second Attempt). Week 8 (17/11/23).
Fig. 3.2.3 Chosen Handwriting Style. Week 8 (17/11/23).
Fig. 3.2.4 The instructed letters, o l e d s n c h t i g , . ! #
in the chosen handwriting style. Week 8 (17/11/23).
3.3 IDENTIFY AND DECONSTRUCT REFERENCES
Fig. 3.3.1 The Given 10 Typefaces. Week 9 (20/11/2023).
Fig. 3.3.1 Detail Dissection of The Letters (H,o,g,b). Week 10 (20/11/2023).
Chosen font closest to your chosen design
(sketches): Bembo Std Bold
Observations:
'H': The two stems are
thicker than the crossbar. It has serifs too.
'o': The counter of the
letter is slanted at 10°.
'g': It has a link and a
loop. The ear seems like a triangle. The counter is tilted a
bit.
'b': There is the ascender
but there is no spur or foot. It consists of a stem, a bowl &
its serifs.
3.4 WORK PROGRESS
Work Progress in Adobe Illustrator
Fig. 3.4.1 Create the guidelines. Week 9 (20/11/2023).
Fig. 3.4.2 Estimate the measurements of the rulers as
guidelines. Week 9 (20/11/2023).
Fig. 3.4.3 Varation. Week 9 (20/11/2023).
Fig. 3.4.4 Chosen type construction
with guidelines. Week 10 (20/11/2023).
Measurements (from baseline):
Ascender: 713 pt
Capital height: 651 pt
Overshoot: 517 pt
Median: 500 pt
Centre: 250 pt
Baseline: 0 pt
Overshoot: -17 pt
Descender: -211 pt
Work Progress in FontLab
Fig. 3.4.5 Presettings in FontLab. Week 11 (4/12/2023).
Fig. 3.4.6 Kerning in FontLab (side-bearings). Week 11 (4/12/2023).
Link to download font: https://drive.google.com/file/d/1C_d9yB4lYvWoVp3JZGTKb2s0-RmaVnsJ/view?usp=drive_link
Work Progress of Poster
Fig. 3.4.7 Experiments with different layouts. Week 11 (4/12/2023).
3.5 Final Outcome
Final Type Construction Ai in JPEG
Fig. 3.5.1 Final Type Design & Communication
(JPEG). Week 12(11/12/2023).
Final Type Construction Ai in PDF
Doc. 3.5.1 Final Type Design & Communication (PDF). Week 12(11/12/2023).
Final A4 Black & White Poster in JPEG
Fig. 3.5.2 Final Poster (JPEG). Week 12(11/12/2023).
Final A4 Black & White Poster in PDF
Doc. 3.5.2 Final Poster (PDF). Week 12(11/12/2023).
Link to download font: https://drive.google.com/file/d/1C_d9yB4lYvWoVp3JZGTKb2s0-RmaVnsJ/view?usp=drive_link
The name of my font is "Liltique". It combines the idea of a leftward tilt ("lilt") with the common
ending for many italic fonts ("-ique").
"Let echoes in the night." This phrase could be interpreted as an
invitation or a suggestion to allow and embrace the presence of
echoes during the nighttime. It carries a sense of openness and
acceptance, encouraging an awareness of the reverberations or
memories that may arise in the quiet moments of the night.
4. FEEDBACK
WEEK 8 (13/11/2023)
General feedback: The lecturer gave comments on our sketches and writing styles. Besides that, he mentioned that if the curly strokes in the writing style are too decorative, tame them but use a wider
brush pen. The "O" probably needs to be rounder; the "D" curved right ought to be thicker when it comes to a vertical position. Moreover, our sketches need to have consistent thick strokes (the angle needs consistency). We need to practice more and begin writing the instructed letters, o l e d s n c h t i g , . ! # in the chosen handwriting style then digitise.
Specific feedback: I asked my fellows for opinions, and they all mostly voted for the pen #2 third writing style.
WEEK 9 (20/11/2023)
General feedback: The lecturer mentioned that most of us did not complete the previous tasks. He asked the students to complete the previous tasks as soon as possible. He also told us that we still have the chance to make mistakes and learn from those mistakes. Moreover, the lecturer taught us how to digitise the handwritten design in Adobe Illustrator with useful tools and some amazing techniques.
Specific feedback: The lecturer commented on my work, "W8 T1 and 2
are comprehensively completed." Besides that, he
also gave me some suggestions on my writing
style. He said when making a typeface, make sure
to make it simple, such as the punctuation,
which does not need any designs. I could refer
to the existing typeface design and observe the
details of them to know that statement.
WEEK 10 (27/11/2023)
General feedback: The lecturer said that maintaining typographic consistency is essential. The consistent use of fonts, sizes, spacing, and other typographic aspects throughout the website ensures a uniform and professional appearance, which improves the overall user experience.
Specific feedback: The lecturer said that I was quite archived in designing the letters 's' and 'e'. However, the letter 'o' is more slated than other letters, so I need to adjust the angle; the letter 't' is also not really good in design. I need to refer to other existing typefaces to make better typeface designs.
WEEK 11 (4/12/2023)
General feedback: The lecturer said we need to
download FontLab 7 (demo
version) just to test it out.
The final has to be done in
the full version of the D7.04
Mac Lab. We also adjust the side bearings of
your letters using the chart
provided.
Specific feedback: The punctuation and the letter 't' have room for improvement. I can make adjustments by observing the already existing fonts.
WEEK 12 (11/12/2023)
General feedback: The lecturer said we need to check all eportfolio posts using a private browser. Ensure all files and images are visible.
Specific feedback: My friend said that I can create a more interesting quote which aligns with my font writing style.
WEEK 13 (18/12/2023)
Specific feedback: W13 complete but place the 100pt somewhere other than where you have kept it which is near the credit line.
5. REFLECTIONS
EXPERIENCE
In typeface deconstruction, I studied various existing typefaces to understand their structure. After that, I explored the emotional and communicative aspects of typefaces. I also experimented with three distinct writing styles using varied pen thicknesses. I translated hand-drawn sketches into precise vector graphics as well. Furthermore, I fine-tuned letterforms for consistency and visual harmony. I also transitioned from Illustrator to FontLab for font creation. Additionally, I tested the typeface in different contexts and sought feedback. In the end, I finalised the typeface, optimised for various applications. I reflected on the design process and outcomes.
OBSERVATION
From typeface deconstruction, I noticed the nuanced details in serifs, strokes, and
overall composition. Besides that, I realised the impact
of typefaces on conveying messages and moods. I also
discovered how pen thickness influences style aesthetics.
I learned to balance the organic feel of hand-drawn
elements with the precision of digital tools and small
adjustments significantly impacted the overall aesthetic.
In FontLab, I focused on technical aspects like character
encoding and spacing. Through getting feedback, I
identified usability issues and areas for improvement.
When finalising the typeface, I considered visual
aesthetics and practical functionality. From observation,
I analysed successes, challenges, and personal
growth.
In conclusion, the observation made during the
communication and type design work shows a complex path
that blends technical accuracy with creative expression.
It's important to comprehend the subtleties of typefaces
that are already in use, recognise the expressive
potential of design decisions, and successfully go from
analogue sketches to digital formats. From testing and
presentation to refinement, every stage offers insightful
information about the complex structure of type design and
its function in clear communication.
FINDINGS
From typeface deconstruction, I found out that
deconstruction enhanced my appreciation for the complexity
of type design. I recognised the importance of aligning
design choices with the intended communication goals.
Moreover, the diversity in styles allowed for a broad range
of expressive possibilities. After digitalizing, I found out
that the transition from analogue to digital required
meticulous attention to detail. Refinement is a crucial
phase to ensure the cohesiveness of the typeface. I also
found that FontLab provided a dedicated environment for
font-specific optimizations. Besides that, iterative testing
and feedback are essential for refining the typeface.
Overall, I think reflection is vital for continuous
improvement and refining future design endeavours.
In summary, I found that typeface design is an intricate
process that encompasses not only aesthetics but also
shape, function, and communication. Testing, feedback, and
iterative refining are necessary for both adaptability and
detail. The transition from analogue to digital tools
demands the combination of modern design methods and
traditional design methods. For communication to be
effective, contextual knowledge, user experience, and
visual elements are required.
6. FURTHER READING
WEEK 7 (6/11/2023)
.png)
Fig. 6.1 Typography, Referenced: A Comprehensive
Visual Guide to the Language, History, and Practice of
Typography (2012).
Authors: Kathryn Henderson, Allan Haley, Ina Saltz, Jason Tselentis, Richard Poulin, Gerry Leonidas, Tony Seddon & Tyler Alterman
Publishing year: 2012
Fig. 6.2 Contents.
After roughly reading this digital book, I
discovered there are thousands of illustrations
showing modern design applications, historical
advancements from Greek lapidary letters to the
Helvetica film, and definitions of keywords,
concepts, ideas, principles, and procedures related
to type. There are also examples of landmark designs
that transform individual letters into typefaces,
ways that technology has improved and influenced the
type, and type in the future on the internet, in
mobile apps, on tablets, and elsewhere.
In summary, Typography, Referenced is the definitive
resource for typographic knowledge and inspiration.
It covers the entire spectrum of crucial typographic
design and knowledge, from the invention of moveable
type to the current "golden age" of typography.
WEEK 8 (13/11/2023)
Fig. 6.3 Type Design &
Development: Tools & Concepts.
Fig. 6.4 Type
Design &
Development: From a
Letter to a Typeface.
The development of a new typeface depends on factors
like the designer's experience, skill, and whether
it's an original design or inspired by an existing
typeface. Starting sequences like afgnprat,
abdeghinoy, andaghmno allow rapid development.
Experienced designers might start with a few letters,
while new designers might try the letters a deh in os
for ease. Unique letters and diagonals are
omitted.
WEEK 9 (20/11/2023)
Fig. 6.5 Type Design &
Development: Rendering Environment.
WEEK 10 (27/11/2023)
Fig. 6.6 Type Design &
Development: Space Matters.
Punchcutters and letter cutters understand that
the space between letters is crucial in a
typeface. Readers can easily identify
inconsistencies, but a basic rhythm can establish
the typeface's rhythm, affecting readability more
than the details of the dark shapes.
The text typeface should be spaced for
paragraphs, not individual letter combinations.
Well-spaced paragraphs have a minimum of a stroke
width's white space (228) between round letters
and proportionately more between straight
ones.
WEEK 11 (4/12/2023)
Fig. 6.7 Type Design &
Development: Character Expansion.
The demand for typefaces with extended character
sets is increasing due to the internationalization
of publications and brands, requiring larger
typeface character sets. Custom typefaces for big
brands can span multiple scripts, with the current
minimum covering the European region, Cyrillic,
Greek, extended Latin, Arabic, Hebrew, and Indian
scripts.
Typeface design is influenced by the typesetting
environment's limitations. Latin scripts, which are
simple alphabetic units, are strained by multiple
diacritics and algorithmic complexity. This has led
to adaptations and rewriting of typesetting systems
to accommodate non-Latin scripts. Designers often
modify their designs to render non-Latin scripts.
However, this is changing due to international
branding and localized publications. There is a
growing interest in new typefaces for non-Latin
scripts.
WEEK 12 (11/12/2023)
Fig. 6.8 Type Design &
Development: Familiar Shapes, New
Interpretations.
Typefaces can become prominent due to their strong
brand or visual style, such as in important
publications or services like the New York Times.
Other typefaces can become successful through wide
use, like Times 1G%, which has become a meta-typeface.
The field of typeface design is characterized by
discovery and invention.
Typeface designers are exploring new typographic forms
through dialogue with typographic history, new
technology, questioning genres and design processes,
and developing new typefaces for non-Latin scripts.
They are exploring underexplored sources of
inspiration, updating older styles to contemporary
needs, and introducing hybrid forms into the
mainstream. This approach broadens typographic
conditions and offers new possibilities.
Fig. 6.9 Typographic
Principles: Format.
U.S. Page Sizes: The US base size for printing is the broadsheet, with half being tabloid size and quarter being letter size. US printers base many page sizes on the letter-sized proportion, sometimes measuring 9 x 12 inches.The 5.50 x 8.50 inch sheet is closest to the "divine proportions" found in the golden section. Smaller sizes derived from the letter sizes include:
• 5.50 × 8.50 inch (13.97 × 21.59 cm)
• 6 × 9 inch (15.24 × 22.86 cm)
ISO Formats: The International Standards Organization (SSO) format system is used by designers and printers outside the US, with a ratio of 1 to the square root of 2, resulting in an 11.414 ratio across all paper sizes. The system relies on metric measurements, unlike US systems. The A0 sheet is 33.11 × 46.81 inches (84.10 x 118.90 cm), Smaller sizes include:
• A1 sheet. 23.39 × 33.11 inches (59.41 * 84.10 cm)
• A2 sheet, 16.54 × 23.39 inches (42.01 × 59.41 cm) • A3 sheet 11.69 × 16.54 inches (29.69 × 42.01 cm)
• A4 sheet 8.27 × 11.69 inches (21.01 < 29.69 cm)
7. REFERENCE LIST & BIBLIOGRAPHY
Henderson, K., Haley, A., Saltz, I., Tselentis, J., Poulin, R.,
Leonidas, G., Seddon, T. & Alterman, T. (2012) 'Typography,
Referenced: A Comprehensive Visual Guide to the Language, History,
and Practice of Typography'. Google Books. [Online]. Available
at:
https://www.google.com.my/books/edition/Typography_Referenced/2-W4vxVM-8gC?hl=en&gbpv=1&printsec=frontcover [Accessed: 6 November, 2023].
Monotype. (n.d.) 'Type Design'. MyFonts.[Online]. Available
at: https://www.myfonts.com/pages/activity-type-design [Accessed: 6 November, 2023].
Clarke, J. (n.d.) 'How typefaces are designed & fonts are
made'. Google Fonts. [Online].
Available at:
https://fonts.google.com/knowledge/introducing_type/how_typefaces_are_designed_and_fonts_are_made [Accessed: 7 November, 2023].
Bonn, L. (2020) 'Typography design 101: a guide to rules and terms'. 99designs. [Online].
Available at:
https://99designs.com/blog/tips/typography-design/
[Accessed: 7 November, 2023].
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