Typography | Task 3: Type Design & Communication

 


0/06/2024 - 12/07/2024 / Week 8 - Week 12

Rio Sato / 0360530
Typography / Bachelor of Design (Honours) in Creative Media / Taylors University
Task 3: TypeDesign & Communication

TABLE of CONTENTS:

1. LECTURES

All lectures 1 to 6 were completed in Task 1 and Task 2

WEEK 7 - Briefing and Demonstration of Typography Task 3

During the class this week, Mr. Vinod provided us with an overview of our Task 3, as well as a demonstration of constructing a typeface using various forms and strokes.

Task 3 consists of:

  1. Research on type design
  2. Sketches: Variety of options (sans serif/serif, uppercase/lowercase)
  3. Identify references - from the 10 typefaces: Determine which of the 10 typefaces closely aligns with your selected design (sketches).
  4. Deconstruct references - 3

Fig. 1.1 Deconstructed "r"

After pinpointing references that match our selected design (sketches), we are required to deconstruct 3 letters. The aim of deconstruction is to comprehend how the letters are constructed using shapes and to notice the intricate and slight variances in thickness due to optical/technical factors. Deconstructing references involves appreciating the type, and studying anatomical parts (its features, etc).

Fig. 1.2 Guidelines

We need to ensure that our font design adheres to the fundamental principles of Typography:

  • Ascender height
  • Capital height
  • Mean/median line
  • Baseline
  • Descender line

Settings for Adobe Illustrator:

Artboard: 1000 × 1000 points in CMYK

Notes:

  • X-height must be 500 points (create a shape that is 500 × 500 pt).
  • The ascender and descender line must be within the boundary of the 1000 × 1000 pt artboard.
  • If the x-height of the design surpasses 500 pt, the design needs to be revised. The same applies to the ascender and descender if they transgress their limits.
  • Overshoot: Optical/technical factors.
  • How to decide counter space: Equal amount of space (thickness) between the 2 stems/half the size of a stem.
  • Combine base shapes with Pathfinder.

2. INSTRUCTIONS

Task 3: TypeDesign & Communication

The task involves designing a limited number of Western alphabets. The process includes choosing an existing font design, analyzing its parts, sketching, digitizing the drawings, and refining. The goal is to create a typeface with subtlety or character, presence, legibility, and readability. The task requires a laptop, Adobe Creative Suite, FontLab, Eportfolio, Gmail, Facebook, and Zoom/Teams. All steps of the process must be documented in an e-portfolio. The final submission should be a PDF and JPEG & .TTF (TrueType Font).

3. PROCESS WORK

3.1 Research

I started searching for references on Pinterest to get inspiration and learn the theory of creating fonts.

Fig. 3.1.1 Research

3.2 Sketch

During my research, I thoroughly explored all aspects of fonts. I believe that determining the size of the fonts is a crucial step, so I approached this task carefully. The font's expression changes depending on the size chosen, such as 3x3 or 3x5.

Fig. 3.2.1 Sketch #1 - #3

Fig. 3.2.2 Sketch #4 - #9

Mr. Max chose #6 in Fig. 3.2.2. 
I have begun the digitization process. First, I attempted three digitizations, from sketch #1 to #3.

3.3 Pre-Digitize


Fig. 3.3.1 Attempt #1 and reference

Fig. 3.3.2 Attempt #2 and reference
Fig. 3.3.3 Attempt #3 and reference

3.4 Identify and deconstruct references

Through creating a digitized font design, I learned how letters are constructed using shapes. Additionally, paying attention to the ascender height, mean/median line and baseline is crucial for creating fonts.

Out of the 10 typefaces, Bodoni Std Roman is my chosen reference. It looks similar to my sketch, especially d, o, h, and n.

Fig. 3.4.1 Chosen font design sketch and reference

3.5 Digitalise final font design

These guides were created following the demo video by Mr. Vinod. The artboard was set to 1000px by 1000px. I increased the capital height to more than 1000px to improve the font appearance.

  • Ascender height
  • Capital height
  • Mean/median line
  • Baseline
  • Descender line
  • X-height
Fig. 3.5.1 Construction of the letter "o"

The first letter I constructed was the letter "o". It was with this first construction that I decided that the width of the stems and gap of the letters would be 500 pt. I also set the whole arc at about 16 pt.

Fig. 3.5.2 Construction of the letter "s"

For the letter "s," I analyzed it in three parts. It appears to have the same spacing, but the top part is smaller than the others. I followed this reference to create the font "s."

3.6 Measurements

Fig. 3.6.1 Guides and digitalized font design

Ascender: 1000 pt Capital height: 848 pt Median: 500 pt Descender: -227 pt


3.7 Developing the final font in FontLab 7

Fig.3.7.1 Copying and pasting the letters into FontLab 7

Once I finalized my final font design, I referred to the demo video of how to develop and export our font in FontLab7 by Mr. Vinod.

Fig.3.7.2 Letter kerning in FontLab 7

I adjusted the kerning for each glyph individually in the metrics tab, as shown in the demo video after transferring all the letters into FontLab7. Additionally, I completed the font information and measurements in the 'font info' tab.

3.9 Final Outcome

Link to download font: 

Fig. 3.9.1 Final Task 3A: Type Design and Communication "Diadem Demo" - JPEG

 Fig. 3.9.2 Final Task 3A: Type Design and Communication "Diadem Demo" - PDF

Fig. 3.9.3  "Rio Font" Typo Poster A4 - JPEG

Fig. 3.9.4 "Rio Font" Typo Poster A4 - PDF

4. FEEDBACK

Week 9
General Feedback:
During Week 9, nine "OHDNG / HNODG" lettering sketches were created as a task assigned by Mr. Max, using three different pens during a practical class.
Specific Feedback:
Mr. Max mentioned we have to focus on the space of the font, and put uppercase and lowercase the same size.

Week 10
General Feedback:
We're having an online class. Mr. Max gave us some feedback us and chose the design from the sketch for digitization next week.
Specific Feedback:
Mr. Max chose #6 from my sketch.

Week 11
General Feedback:
Mr. Max taught us how to make the digitized font design into a typeface using FontLab 7.
Specific Feedback:
Tutor said the letters "g", "t", and "#" can use the specific shape that I use, and adjust the Capital height.

Week 12
General Feedback:
Mr. Max taught us the final adjustments and corrections needed for our typefaces, focusing on ensuring consistency and legibility across all characters.(Karning)
Specific Feedback:
Mr. Max advised refining the curves on the letters "g" and "s" to enhance visual harmony within the typeface.

5. REFLECTION

5.1 Experience

The process of deconstructing and reconstructing individual letters has deepened my understanding of fundamental typographic principles. By examining each element of letterforms and how they interact within a typeface, I have gained a greater appreciation for the intricacies involved in creating cohesive and visually appealing typography. This exercise has also highlighted the critical role that attention to detail plays in ensuring that the design maintains uniformity and readability across different contexts and applications.

5.2 Observations

I observed that even small adjustments in the stroke width or spacing can significantly impact the overall readability and aesthetic of the typeface. It was also interesting to see how different design choices could convey different moods and tones.

5.3 Findings

I found that deconstructing existing typefaces provided valuable insights into the nuances of letter construction, revealing the intricate details and subtle variations that define each character. Additionally, using FontLab 7 for the final digitization was an enlightening experience, as it helped me appreciate the technical aspects of font development, such as the precision required in kerning, hinting, and the creation of vector paths. 

6. FURTHER READING

Fig. 6.1 Mastering Type: The Essential Guide to Typography for Print and Wed Design, by Denise Borler

This book covers the history and theory of typography and provides numerous examples of well-executed typography. I read a section that compared various examples of good and bad text formatting, including some aspects I hadn't considered before.
Below, I've included a snapshot from the book (Figure 6.2). It offers a different perspective on how to arrange titles.

Fig. 6.2 Figure 7.2 Serious vs fun headline

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