Typography Task 3 / Type Design & Communication

14/11/2023 - 18/12/2023 / Week 8 - Week 13 

Lim En Yu / 0354452

Typography / Bachelor of Design (Hons) in Creative Media / Taylor’s University 

Task 3 : Type Design & Communication

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TABLE OF CONTENTS

1. Instructions

2. Task 3 : Type Design & Communication

3. Feedback

4. Reflection

5. Further Reading

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INSTRUCTIONS

Fig 1.1 Module Information

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Task 3 ：TYPE DESIGN & COMMUNICATION

Research

Before I begin with the font design, I decided to do some research in order to understand the letterforms more and also get inspirations from it.

As we are creating a font, it is essential to follow the guidelines as mentioned in anatomy of typefaces. The image below able to let us know clearly about the structure and basics of typography.

Fig 2.1.1 Anatomy of Typography, Week 8 (13/11/23)

Other than that, I have also explore about the type classification system in order to get to know more diffent styles of types and get an idea on creating my fonts.

Fig 2.1.2 Type Classification, Week 8 (13/11/23)

The angle of stress refers to the inclination of the primary strokes in a typeface concerning the baseline. This concept originates from traditional calligraphic writing, where the angle at which a pen is held determines the type of mark it creates.

Fig 2.1.3 Types of stress, Week 8 (13/11/23)

Deconstruction of letterforms

Fig 2.2.1 Deconstruction of Futura ST Book , Week 8 (13/11/23)

The stroke of letter "H" at both sides are equal while the stroke in the middle is slightly thinner. For letter "o", it shows a vertical stress. The stroke of the circle in "g" has been slight reduced while moving towards the vertical stroke and the curve of the loop is bigger than circle. Letter b is almost the same as "g", which the stroke of the circle has been slight reduced while moving towards the vertical stroke.

Sketches

We are assigned to sketch the following letters ODHNG / odhng using the 3 pens and explore 3 different writing styles for each of the 3 pens.

Fig 2.3.1 Different writing styles using marker pen 1, Week 8 (13/11/23)

Fig 2.3.2 Different writing styles using marker pen 2, Week 8 (13/11/23)

Fig 2.3.3 Different writing styles using marker pen ,3 Week 8 (13/11/23)

I have chosen two styles that I prefer out of the 9 writing styles and I have also asked for Ms Hsin Yin's opinions and she prefer marker pen 3 writing style#1 as it looks more interesting.

Fig 2.3.4 Style preferred from marker pen 3 writing style#3, Week 8 (14/11/23)

Fig 2.3.5 Style preferred from marker pen 3 writing style#1, Week 8 (14/11/23)

Digitalisation

After finishing the draft, we move on to the digitalisation phase which required us to digitalise our work on Adobe Illustrator using stroke tool or shape tool. Below is the outcome after my first try of digitalising my font. 

Fig 2.4.1 First attempt for digitalisation, Week 8 (17/11/23)

Ms Hsin Yin has given me some feedbacks about my first draft and I have all made some minor changes on it such as letter "e","d","s" and "g".

Fig 2.4.2 Second attempt for digitalisation, Week 9 (21/11/23)

Below is the last version of my work of digitalisation which I further improve again based on Ms Hsin Yin's advices.

Fig 2.4.3 Final outcome for digitalisation, Week 10 (28/11/23)

The letter that I have changed the most is "s" which from the beginning it looked not too smooth so after following the guide from Ms Hsin Yin I have improved it which is make the curves at top and bottom bigger and thinner. However, when the "s" put together with other letters it seems to have lesser weight therefore Ms Hsin Yin asked me to increase the weight at the end of the edges and also make it curved more.

Fig 2.4.4 Constructions progress of "s", Week 10 (28/11/23)

For letter "c" and "g", I have increased the weight of "c" a t the top while for "g" I have increased the weight at the end of the loop. The purpose of doing so is to balance the weight among the letters.

Fig 2.4.5 Construction progress of “c" and "g", Week 10 (28/11/23)

There are the same problem happened between "n" and "h" which are the stem of "n" and "h" should be the same witdh at both side while the shoulder should also thinner so that it have a balance between the three lines in these letters.

Fig 2.4.6 Construction progress of “n" and "h", Week 10 (28/11/23)

The changes of letter "e" are mainly focus on the stroke inside. I t become thinner and thinner in every edition and finnaly in the last version of digitalisation it looks balance among itself.

Fig 2.4.7 Construction progress of “e", Week 10 (28/11/23)

I have created texture like minor defects at the edges of every letters to imitate the texture while using marker pen to write. The tool that I have applied is minor front in pathfinder.

Fig 2.4.8 Process of creating texture and minor defects, Week 10 (28/11/23)

Letter "o" and "l" did not change since first draft of digitalisation process so I used them as a sample of applying different defects. Initially the defects that I have created were not that obvious, expecially after you zoom in you could not see it as well. Therefore, I increased the size of the defects and also the number of it.

Fig 2.4.9 Changes of the visibility of defects, Week 10 (28/11/23)

Other than that, I have also made some changes on the punctuation marks, such as decreasing the curve of the comma, the slanting angle of period and increase the thickness of the strokes of numbersign.

Fig 2.4.10 Construction progress of  punctuation marks, Week 10 (28/11/23)

Developing the final font in FontLab 7

After completing the final design of my font in Adobe Illustrator, I followed the instructions of tutorial video that demonstrating the process of developing and exporting fonts in FontLab 7.

Fig 2.5.1 Copying and pasting the letters into FontLab 7, Week 12 (12/12/23)

After I have importing all the letters and punctuation marks, I have tested out the some specific words on the metrics tab and also adjusted the kerning as well.

Fig 2.5.2 Letter kerning process on specific words, Week 12 (12/12/23)

After showing all the words to Ms Hsin Yin, she suggested me to adjust the kerning of letters using letter "h" and "o" as it will become more accurate.

Fig 2.5.3 Letter kerning process, Week 12 (12/12/23)

Poster Design

On the other hand, we were also assigned to make a black and white poster which all at the same font size. Here are some drafts of my poster design, the first two drafts are white colour while the last two drafts are black colour. The words that I have utilised are the design school, oh gosh, echoes, goose, design is so good and more. 

Fig 2.6.1 Poster design draft #1, Week 12 (12/12/23)

Fig 2.6.2 Poster design draft #2, Week 12 (12/12/23)

Fig 2.6.3 Poster design draft #3, Week 12 (12/12/23)

Fig 2.6.4 Poster design draft #4, Week 12 (12/12/23)

Final outcome of Poster Design

I have improved on poster deisgn draft #4 such as increasing the text size, changing the position and adding the line.

Fig 2.6.5 Final outcome of poster design, Week 12 (12/12/23)

Final Task 3A: Type Design and Communication

Download font here: https://drive.google.com/file/d/10DypQTqSrqowdEq9pJQ8UjspM8RxEwXS/view?usp=sharing 

Fig 2.7.1 FontLab Screengrab, Week 12 (15/12/23)

Fig 2.7.2 Final Task 3A: Type Design and Communication "Marki" (JPEG), Week 12 (15/12/23)

Fig 2.7.3 Final Task 3A: Type Design and Communication "Marki" (PDF), Week 12 (15/12/23)

Fig 2.7.4 Final Poster (JPEG), Week 12 (15/12/23)

Fig 2.7.5 Final Poster (PDF), Week 12 (15/12/23)

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FEEDBACK

Week 9

General Feedback: Mr Vinod and Ms Hsin Yin have mentioned that the letter "t" should be slightly lower than "h" in all fonts. 

Specific Feedback: After reviewing my sketches, Ms Hsin Yin and Mr Vinod have approved one of the sketches which they think have character in it. They think the gaps within the letters are interesting and I could continue to digitise it.

Week 10

General Feedback: The artboard size should be adjusted 1000 pts x 1000 pts so that the size maintained when being imported to fontlab.

Specific Fedback: Ms Hsin Yin suggested that the letter "s" should be more slanted and the thickness should be adjusted. The angle of slanting of straight line of "d" and "h" should be same as the letter "l". I can make the slanted guide as reference for each of the letter.

Week 11

General Feedback: Ms Hsin Yin asked us to continue digitising our font and give each of us specific feedback after we have made our letters into a word.

Specific Fedback: Ms Hsin Yin suggested that I should make my stroke that inside "e" become thinner and "s" seems to have smaller weight compare to others. I have also increased the weight of letters "n"and "h" to balance the two strokes while "c" and "g" to balance  the end of the edges. The texture that I have created which is the defect is not so obvious, therefore I have improved on it.

Week 12

General Feedback: Mr Vinod suggested that when creating the B&W poster, our font can try to be bigger as we are showing our font.

Specific Fedback: Ms Hsin Yin adviced me to tighten the space in between the words and adjust the letter spacing using letter "h" and "o".

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REFLECTION

Experience

Within several typography assignments, this one is the most impressive for me as it required more creative thinking skills and efforts to complete. We have to design a font started from zero, explore everythings by ourselves and get to learn from mistakes. I enjoyed a lot throughout the process with tutors' help and I felt proud of myself after I really create a font that belong to me.

Observations

Creating a font is not a simple task as what I thought. Every minor changes can make a huge difference so that this required us to be observant and attentive in every details. I have observed that even a small variation in the font can generate a distinct style, conveying different emotions.

Findings

Fontlab is easier to use than what I thought. The tough part was just the designing phase and adjusting it. After constructing the letters only I know that actually the height of "t" was slightly shorter than "h".

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FURTHER READING

Typography Design: Form and Communication

by Rob Carter, Ben Day, Philip Meggs, Sandra Maxa, Mark Sanders

Fig 5.1 Typography Design: Form and Communication, Week 9 (21/11/2023)

This book presents a viewpoint on typography that transcends specific technologies or platforms. Grasping the fundamental principles of typography is essential for effective communication across different contexts—be it static, dynamic, or kinetic. The early sections discuss the basics, such as form, structure, the language of type, and its ability to convey messages. Subsequent chapters explore the complexities of on-screen and kinetic typography, providing designers with a comprehensive understanding of legibility factors and enabling creative communication strategies.

Fig 5.2 Type and the design process, Week 9 (21/11/2023)

Implementing a modular grid introduced a structural framework that arranged various influences and defined Ludd's visual language. The use of the grid contributes to the distinct geometric appearance of the Ludd typeface, showcasing original interpretations of typographic forms.

Fig 5.3 Refinements of typeface, Week 9 (21/11/2023)

Taking a comprehensive approach, this strategy guaranteed precision and oversight at every stage of the process, simultaneously reestablishing a connection with manual craftsmanship. While mechanical and technical enhancements were being implemented for the typeface, the image illustrates a more hands-on approach through the creation of test character samples using polymer and lasercut plates. This was followed by applying the type design through letterpress printing, allowing for a practical evaluation and critique of the design.

Typography Referenced

by Allan Haley, Richard Poulin, Jason Tselentis, Tony Seddon, Gerry Leouidas, Ina Saltz, Kathryn Henderson and Tyler Alterman

Fig 5.4 Typography Referenced, Week 9 (21/11/2023)

The idea behind this book was to cover and explain the entirety of science, philosophy, religion, political science, music, art, world history, psychology, economics, film, and American studies. In essence, it aimed to encapsulate 10,000 years of culture in a single comprehensive overview, encompassing everything that an "educated" individual should be familiar with. The goal was to offer essential information, filling in any knowledge gaps resulting from missed educational opportunities or a failure to retain previously acquired knowledge.

Fig 5.5 Testing the Design, Week 9 (21/11/2023)

The process of designing a typeface essentially involves a methodical reduction of details. Initial ideas are mere sketches providing starting points, followed by a systematic approach involving structured changes, reviews, testing, and the repetition of the entire process.

Fig 5.6 From a Letter to a Typeface, Week 9 (21/11/2023)

The designer operates with a limited set of letters, facilitating the quick generation of ideas while incorporating various strokes to convey the font's unique characteristics. The specifics involved are influenced by several factors, including the designer's expertise, skill level, and whether the design is entirely original or inspired by an existing typeface. Merely sketching the letters 'n' and 'o' is insufficient to provide a comprehensive sense of the ultimate direction the typeface will take.

Fig 5.7 Character Expansion, Week 9 (21/11/2023)

The design of typefaces is influenced by the constraints of the typesetting environment. For subsets of the Latin script that follow straightforward, alphabetic, left-to-right models, there is no challenge to the system based on a basic structure of sequential rectangular units. However, this approach faces difficulties with numerous diacritics and breaks down when shapes don't fit into boxes or undergo algorithmically complex transformations.