Advanced Typography- Task 3: Type Exploration and Application

31 May 2023 - 05 July 2023 (Week 9 - Week 14) 

Vincent Lee // 0359386 

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

Task 3: Type Exploration and Application

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INSTRUCTIONS <span id="LIST"></span>

Task 3: Type Exploration and Application

Feedback

Reflection

Further Reading

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Lecture

All 5 lectures are completed in Task 1: Exercises.

Week 9

Class Summary 

Mr. Vinod reviewed and gave his final feedback to our Task 2: Key Artwork and Collateral. The submission was due on 9th June 2023 (Friday). Moving on, we presented our typeface design proposal after one another. We are to design uppercase, lowercase, punctuations and numeral.

Week 10

Class Summary 

Mr. Vinod reviewed our sketches /digitised letterforms. Mr. Vinod also mentioned to think priory of the application for our typeface as the time left for this task was limited thus, we were advised to complete the entire digitising process and present it by next week then make necessary refinement and upload to FontLab.

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Instructions

MIB

<iframe src="https://drive.google.com/file/d/1-P2VE3RJqBsojEbhURD8r1ojRT46JPGY/preview" width="640" height="480" allow="autoplay"></iframe>

Task 3: Type Exploration and Application

This project involves the creation of a font that aims to solve a significant problem or contribute to a solution in an area of our interest, such as graphic design, animation, new media, or entertainment design. Alternatively, we can explore the use of an existing letterform in our area of interest, identify areas for improvement, and propose solutions or combinations that enhance the letterform. Lastly, we have the option to conduct an experimental project using unconventional materials, digital augmentation, 3D elements, edible components, or other unique approaches.

Task Requirements

• End Results: Develop a complete font (.ttf) file with practical applications.
• Font should address a problem or add value in chosen area (e.g., graphic design, animation).
• Outcome can be animated, 3D, printed, ambient, projected, or used in movies, games, or music videos.
• Study chosen area and identify weaknesses for exploration.
• Experiment and enhance typographic application.
• Present font design and application in relevant formats (animations, 3D models, prints, etc.).

1) Design Proposal

Figure 1.1 -  Design Proposal Slides, Week 9 (31 May 2023)

Typeface Style: Sans-Serif

Application: Letters, Posters (quotes), Calendar, Book Cover, Banners

2) Idea Development (designs attempts)

Idea #2 Handwriting

This option entails creating a font that mimics my own handwriting. The main objective is to develop a typeface that exudes a sense of informality and casualness, giving people the impression of handwritten text.

Figure 1.2 - Handwriting with Different Tools, Week 9 (31 May 2023) 

I attempted to analyze my writing patterns using the Procreate application, experimenting with various brushes by writing a few sentences. Unfortunately, I encountered a setback when the canvas unexpectedly resized due to accidental contact with the screen by my palm.

Idea #4 (final idea) - Aeryn

Since I was unable to proceed with the intended progression, I made the decision to resume working on my previous semester font design, Aeryn. Aeryn is a sans-serif typeface characterized by its bold and heavy weight, providing a strong visual presence.

Figure 1.3 - Font Design in Previous Semester
Click here to view

3) Construction of Letterforms (designs attempts)

- Creating Guidelines

In the previous pre-design process, we are require to establish the guidelines as demonstrated in the pre-recorded video then based on the guidelines, digitise our sketches. 

Figure 1.4 - Establishment of Guidelines in AI

I had created a 500 pt x 500 pt box and use Myriad Pro (Regular) to determine my guidelines. The guidelines' measurements is as stated below:

The guidelines' measurements is as stated below:

Ascender Height: 737 pt
Cap Height Overshoot: 711pt 

Cap Height: 699 pt
X-Height: 500 pt
Baseline: 0 pt 

Baseline Overshoot: -12pt
Descender Height: -230 pt

- Process of Digitising Font

Figure 1.5 - Constructing of Letterforms, Week 8 (18 Oct 2022)

Tools Used: Rectangle Tool, Eclipse Tool, Pen Tool,

Corners: 20pt for outer corners, 10pt for inner corners

After creating the guidelines, I decided to start digitising. As I mainly using Pen Tool to digitise my sketch,  I open the grids and guides to allow me to determine the width of the stem, arm, leg and other anatomy. After that, I  used direct selection tool and select the corners and curve the corner into 20pt. For corners that is inside, for instance the letter E, the corners is 10pt. 

Visit my previous font design process here.

Figure 1.6 - Letter C, Week 14 (05 July 2023)

To achieve the desired angle for both the in-stroke and out-stroke of the letter G, I utilized the G I had constructed during the previous semester. I copied and pasted it to the front using the "Cmd C + Cmd F" command, and then inverted it. This process ensured that the angles matched for both strokes.

Figure 1.7 - Letter F, Week 14 (05 July 2023)

I utilized the rectangle tool to create three rectangles, subsequently adjusting their dimensions to achieve the desired width and thickness. Moving forward, I applied a 20pt corner curvature to each of them. Finally, I employed the shape builder tool (Shift + M) to merge the rectangles into a single shape.

Figure 1.8 - Letter U, Week 14 (05 July 2023)

When constructing the letter "U," it took me some time to determine the most suitable tools for its creation. Eventually, I opted to use the rectangle shape for both vertical strokes, while employing the ellipse tool for the curved bottom. Additionally, I made a slight adjustment to the curved bottom, enlarging it slightly to incorporate an overshoot.

Figure 1.9 - Overview of Constructing Uppercase, Week 14 (05 July 2023)

Figure 1.10 - letter f, Week 14 (06 July 2023)

To add a slight curve to the ascender of the letter "f," I began by determining the desired height of the letter. Then, I employed an ellipse tool and used the shape builder to merge it with the ascender. Next, I removed any unnecessary lines and applied a 20pt rounded corner to the outer edge and a 10pt rounded corner to the inner edge.

Figure 1.11 - letter j, Week 14 (06 July 2023)

To construct the letter "j," start by inverting the letter "f" and then proceed to shorten the stem while lengthening the tail. Finally, place a rectangle on top of the modified shape.

Figure 1.12 - Overview of Constructing Lowercase, Week 14 (06 July 2023)

Figure 1.13 - Overview of Constructing Numeral and Punctuations, Week 14 (6 July 2023)

During the construction process, I encountered significant challenges in creating the curves for the numbers 5, 6, 8, and 9. As a result, the working process and the final outcome appeared rough and did not adhere to the expected rules. Additionally, due to insufficient time, I was unable to create a complete set of punctuations. Instead, I utilised elements from previous punctuation designs and focused on creating those that were relatively easier to produce, such as square brackets, less-than and greater-than signs.

Figure 1.14 - Finalised Letters, Numeral and Punctuations, Week 14 (06 July 2023)

4) Developing Final Font in FontLab

Figure 1.15 - Importing to FontLab, Week 14 (07 July 2023)

Figure 1.16 - Kerning Process, Week 14 (07 July 2023)

Figure 1.17 - Exporting of Font, Week 14 (07 July 2023)

Final Task 3: Type Exploration and Application

Font Design

Downloadable font link: Zebrahim-Bold.ttf

Figure 1.18 - Final Font Design_JPEG, Week 14 (08 July 2023)

Figure 1.19 - Final Font Design_PDF, Week 14 (08 July 2023)

Font Presentation

 

Figure 1.20 - Font Presentation 1, Week 14 (08 July 2023)

 

Figure 1.21 - Font Presentation 2, Week 14 (08 July 2023)

 

Figure 1.22 - Font Presentation 3, Week 14 (08 July 2023)

 

Figure 1.23 - Font Presentation 4, Week 14 (08 July 2023)

Figure 1.24 - Final Font Presentation_PDF, Week 14 (08 July 2023)

Font Application

 

Figure 1.25 - Book Cover_JPEG, Week 14 (08 July 2023)

 

Figure 1.26 - Movie Poster_JPEG, Week 14 (08 July 2023) 

 

Figure 1.27 - Roll Up Banner_JPEG, Week 14 (08 July 2023)

 

Figure 1.28 - Tote Bag_JPEG,Week 14 (08 July 2023)

Figure 1.29 - Final Font Application_PDF, Week 14 (08 July 2023)

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Feedback

Week 9

General Feedback 

If we want to enhance something or do something experimental, then we need to decide there is a problem and we need to find a solution. No one design typeface for website but screen based fonts like Verdana and Georgia. Designers create typeface for brand which used in website but not for website.

Specific Feedback 

- Fig 1.1 - Design Proposal Sketch #2

If I want to base my letterform on my handwriting, it is advice to try out using different tools such as flat nib or round nib. Hold the pen in one angle when writing it out. 

Week 10

General Feedback 

Due to the insufficient time provided to complete the task, it becomes necessary to consider the application while designing our typeface. When designing or receiving design direction, such as aiming for a minimal aesthetic, it becomes crucial to thoroughly study and conduct proper research on the typeface we are referring to. Mr. Vinod discovered that some students had omitted the essence or characteristics of the typeface, highlighting the importance of this research.

Specific Feedback 

- Fig 1.2 - Handwriting with Different Tools

Mr. Vinod mentioned that the sketch was just a preliminary study of my handwriting and warned me against simply writing it in Procreate and expanding it in Adobe Illustrator. Additionally, I was advised to write it in more than one sentence, as the outcome would appear strange if the uppercase and lowercase alphabets were written side by side. After repeatedly writing the same sentences, I was advised to enlarge them and analyze the differences that emerged within each instance of my writing. When digitizing, we need to iterate from our initial handwriting in order to ensure consistency throughout the entire set, while still preserving the essence of our handwriting in this case.

Week 11

General Feedback 

Consistency throughout the typeface is important, and sometimes optical adjustments are necessary, even if the construction is technically consistent. One particular aspect that requires attention is the thickness of the stroke, which can affect readability if it is too thin. Another consideration is the size of the punctuation, which should not be too small. To achieve consistency and quality in typefaces, utilizing grids can be helpful.

Specific Feedback 

- no progression

Week 12

- Medical Leave

Week 13

- Class Cancelled

Week 14  

Peers' Feedback 

Fig 1.26 - Final Font Application

- The font application is not prominent; there is a need for significant improvement in the next project.

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Reflection

Experience

I embarked on a challenging journey that tested my skills and resilience as a student designer. The intense nature of the task often left me feeling confused and overwhelmed, causing me to struggle with effective time management and procrastination. As I grappled with these obstacles, I felt lost and unsatisfied with my results, as the font design lacked consistency. The lack of feedback further compounded my frustration, leading me to miss valuable opportunities for learning and growth. These emotions of sadness and guilt weighed heavily on me, serving as reminders of the importance of thorough research and genuine interest in the subject matter.

Observation

During the module, I observed firsthand the significance of discipline and dedication in typography design. My experience highlighted the detrimental effects of confusion and procrastination, hindering progress and leading to unsatisfactory outcomes. The inconsistency in font design underscored the need for meticulous attention to detail and a holistic approach to typeface creation. Additionally, the absence of feedback emphasized the value of constructive criticism in facilitating improvement and honing one's skills. These observations served as valuable lessons in the artistry and craftsmanship required for effective typographic design.

Findings

Firstly, the importance of time management and organization became evident as I grappled with confusion and the tendency to procrastinate. A lack of structure and discipline impeded my progress and hindered the development of consistent font designs. Furthermore, the absence of feedback highlighted the significance of seeking critique and engaging in a feedback loop to refine and improve one's work. Lastly, I discovered the essential role of research and genuine interest in the subject matter. The lack of these elements led to a lackluster experience and outcomes. Moving forward, I recognize the need to invest time and effort into thorough research and cultivate a genuine passion for typography design to achieve better results.

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Further Reading

Font Anatomy: https://typomil.com/anatomy/

References: 

Ina Saltz. (2009). Typography Essentials : 100 Design Principles for Working with Type. Rockport Publishers. 

THE WORD - CHAPTER 26: A 'BAD' TYPEFACE?

In this chapter, the authors delve into the concept of what defines a 'bad' typeface, particularly when a typeface appears visually appealing and harmonious with any title or topic. Their discussion has prompted me to think outside the conventional boundaries and engage in an internal dialogue regarding whether a typeface should be deemed bad solely based on its individual appearance. Instead, should I consider it a good typeface if it interacts well with posters or images and enhances their overall aesthetic appeal?

Project: Weirdo Deluxe: The Wild World of Pop Surrealism & Lowbrow Art

According to the author (s), playful and unique faces that are meant to be ugly are common, but everyone has their own idea of what is beautiful. In this case, the word "weirdo" stands out because it looks strange, and the letters in the ribbon of text don't match, which suits a book about unconventional art.

Artwork of Camille Rose Garcia, a California-based lowbrow/pop surrealism artist.

The letters in a twisted, snake-like shape have uneven thickness and slightly sinister decorations. They are pressed tightly together, creating a medallion that matches the artwork on the page opposite.

THE PAGE - CHAPTER 76: LIMITING TYPEFACES

I have always been uncertain and questioned whether it is necessary to use different fonts for my blog, projects, and designs. This uncertainty started during my first semester in Typography class when we had to format text for our assignment 2. Since then, when it comes to organizing text hierarchy, I always spend a lot of time searching for matching fonts for my tasks and projects, sometimes taking up to an hour.

Fortunately, in the section about "The Page," it explains that even using a single type family is sufficient for illustration and graphic purposes. It also mentions that using only one font style and weight ensures visual consistency in the project, while color and size can provide variety.

Project: Comic: Dino Rama, illustrated by John Sibbick

For this project, only one narrow display font is utilized consistently. It is always in the same weight and displayed in all capital letters. This decision complements the extensive dinosaur names by allowing the text to have a significant x-height and a strong presence on the page.

Project: T-shirt, designed by Chris Piasick, graphic designer in New England

A single typeface serves a dual purpose when it is filled with a pattern.

Project: Recruiting Brochure, designed by Michael Aron and Kathy Sobb

The author has mentioned that we don't have to worry about different type families conflicting here. By using just one typeface and one weight, visual consistency is guaranteed throughout the project. Color and size, on the other hand, provide the desired variety.

"One of the principles of durable typography is always legibility; another is something more than legibility: some earned or unearned interest that gives its living energy to the page. It takes various forms and goes by various names, including serenity, liveliness, laughter, grace and joy."

    — Robert Bringhurst, The Elements of Typographic Style

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Quick Links

Task 1: Typographic Systems

Task 2(A) &(B): Key Artwork & Collateral

Final Compilation and Reflection