Typography / Task 3A: Exercise

15.10.2021 - 22.10.2020 (Week 08 - Week 09)

Adeline Wong Chyn Nee / 0344017 / Mr.Vinod N 

Typography / Bachelor of Design in Creative Media
Task 3 (A) / Type Design & Communication

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LECTURES:

All lectures are completed from week 01-06 > Task 1 (Exercise 1 & 2)and Lectures

WEEK 7: Typography Task 3A briefing and demo

In this week's class, we were briefed about Task 3, and afterward, we learned how to construct a typeface using shapes and strokes in a demo by Mr. Vinod.

Fig. 1 Typeface Construction 

Lecture Summary:

• To deconstruct a letterform and use that knowledge to digitize and construct our alphabets
• Set up artboard to construct letterforms (Ascender line, Cap line, Median line, Baseline, Descender line) using the word "Tyd"
• Created 4 letters from one of the sketches (demo)

Note:

• Delete unnecessary anchor point
• Ensure consistency when constructing letterform
• X-height must be 500 points
• Keep separate the components of the letterforms created at the side
• Unite shapes with pathfinder tool
• Create different options for every letterform
• Execution should not follow sketches completely
• Need to know unit point to copy into Font Lab

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INSTRUCTIONS:

We are required to design a limited number of western alphabets by choosing an existing font design that adheres to the direction that you would like to head in.

Requirements:

1. Rough sketches
2. Digitization of the drawings
3. Documentation of Process
4. Upload as PDF and JPEG &/ GIF (not PNG)

We will have to endeavor to create a typeface that has the hallmarks of a good typeface; subtlety, character, presence, legibility, and readability.

Below are the letters we will design: aimepytgdob!. 

Task 3: Type Design and Communication

1. Research on type design

For my design research, I want to go for something abstract, with geometric and organic shapes combined together. I found the letterform inspirations below from Pinterest.

Fig. 1.1 Visual research, Week 8 (12/10/21)

These contemporary fonts seem like they were constructed by geometric shapes that were cut out by organic shapes.

Fig. 1.2 Visual research, Week 8 (12/10/21)

After visual research, I found the font that is most similar to my ideal font. The Adventure Subtitle font!

Fig. 1.3 Adventure Subtitle upper and lowercase, Week 8 (12/10/21)

Deconstructing "Adventure Subtitle"

Fig. 1.4 Adventure Subtitle 'bmy', Week 8 (15/10/21)

Median line- 500pt

Cap height- 696 pt

Ascender line- 733 pt

Descender line- -268 pt

Discoveries:

- Upon remeasuring the guidelines, I discovered that the font has a longer descender line compared to sans serif fonts because it has a longer stem, given that it is a contemporary font.

Width of bowl and counter of 'b' and 'm'

Fig. 1.5 Adventure Subtitle 'b' & 'm', Week 8 (15/10/21)

Next, I measure the bowl and counter of "b" and "m" respectively. the bowl of "b" is 268 pt in width and 185 pt in height.

Discoveries:

- By measuring the 2, I have discovered that the width of b's bowl is x1.5 the size of the width for m's single counter.

Stem width of 'b' 'm' and 'y'

Fig. 1.6 Adventure Subtitle 'b' & 'm', Week 8 (15/10/21)

Next, I measure the stem width of the letters 'b' and 'm'.

Discoveries:

- By measuring the stems from letters 'b' and 'm', I discovered that both letters share the same stem width, therefore making the letterform neat and consistent.

Fig. 1.7 Adventure Subtitle 'y', Week 8 (15/10/21)

Next, I measure the stem width of the letters 'y'

Discoveries:

- By measuring the stems from letters 'y', I discovered that it has different stem widths from the letters 'b' and 'm'.

Arc size of  'b' and 'm'

Fig. 1.8 Adventure Subtitle 'm' and 'b', Week 8 (15/10/21)

Finally, I measure the arc size of the letters 'm' and 'b'

Discoveries:

- By measuring the arc size from letters 'm' and 'b', I discovered that they both share the same arc size, therefore making the letterform neat and consistent.

2. Sketches

Fig. 2.1 Sketches (3 variety), Week 8 (15/10/21)

For my next step, I went to Mediband Pro to start my sketching. I drew 1 serif and 2 san serifs in total.

For the letterform at the most bottom, I sketched them based on an organic shape, the curved rectangle, and also geometric shapes like oval, and rectangle.

Fig. 2.2 Sketch of chosen letterform (Gauche), Week 8 (15/10/21)

In the end, I most preferred this letterform, I named it Gauche, which means "unsophisticated and socially awkward." Kind of like me in real life.

3. Digitalise final font design

I started off my digitization by creating the guidelines from the letter Tyd, which was shown in the demo by Mr. Vinod.

Fig. 3.1 Creating Guidelines, Week 8 (15/10/21)

Measurements (from baseline)

Ascender: 733 pt

Capital height: 696 pt

Median: 500 pt

Descender: -205 pt

Fig. 3.2 two versions of digitized design, Week 10 (27/10/21)

Fig. 3.3 Close-up (before and after consultation), Week 10 (27/10/21)

Fig. 3.4 Construction of letterform 'a', Week 10 (27/10/21)

Fig. 3.5 Construction of letterform 'e', Week 10 (27/10/21)

Fig. 3.6 Construction of letterform 'm', Week 10 (27/10/21)

Fig. 3.7 Creating into font in Font Lab 7, Week 10 (27/10/21)

4. Final Outcome

Fig. 4.1 Sample word 'be dope', Week 10 (29/10/21)

Fig. 4.2 Sample word 'bedim me', Week 10 (29/10/21)

Fig. 4.3 Poster black and white, Week 10 (29/10/21)

Fig. 4.4 Poster black and white 'dope poem', Week 10 (29/10/21)

Fig. 4.5 Final Outcome (JPEG) Week 10 (29/10/21)

download the font here:

https://drive.google.com/file/d/17-Cf2A-RnAPoD0ZxrqAHaNtH2fP6AvU6/view?usp=sharing

Fig. 4.6 Final Outcome (PDF), Week 10 (29/10/21)

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FEEDBACK:

Week 9: General Feedback: Consistency of letterforms has to be maintained throughout the whole process. Specific Feedback:

The small space for the letter 'y' needs to be the same height as the rest such as 'e', 'o', and 'a'.

Add a spur for the letter 'a', take the shape from the corner of the letter 'o'.

The exclamation mark, comma, and period need to be bigger.

The 'm' needs to be wider, take the width of 1 and half of 'o', that would be your width for the letter 'm'.

The 'o' needs to be wider as well, follow the size of your 'o', that would be the width for your 'e'.

The crossbar for the letter 't' needs to be changed to s thinner one, and add a finial for it too.

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REFLECTION:

Experience

Creating my font design was one of the most fun but challenging tasks of this semester so far. I get to put my personality in the fonts I create and at the same time learn about the intricacy of constructing one. These 3 weeks were surely an interesting process for me because I have never used Font Lab before so starting on that with this task is a fantastic thing.

Observations

Through my letter deconstruction studies, I've observed that consistency is very important when constructing letter forms. I think the width and height have an important role in consistency, as every element and detail come together as one and one small error is obvious to a viewer's eye so maintaining that was a great lesson learned.

Findings

I found that designing a font or typeface allows endless possibilities for a designer, when creating I found that a font can be anything, it can be a simple geometric shape, it can also be something that looks like a painting or abstract art. The variety of a font or a typeface surprised me, especially when we really get hands-on to create it.

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FURTHER READING:

Fig. 5.1 'Typography Referenced' book cover, Week 10 (29/10/21)

For further reading, I dig deep into one of the important typography principles, Grid.

Reference:

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 (0 ed., Vol. 1). Rockport Publishers.

Type Classification and Identification By Allen Haley

Most typefaces fall into these basic groups: serif, without serif, and scripts (cursive handwriting)

Fig. 5.2 Examples of typeface groups shown by letter 'a', Week 10 (29/10/21)

Fig. 5.2 Examples of typeface groups shown by letter 'a', Week 10 (29/10/21)

As you can see the groups are endless. Different typeface groups look to me as if they are from different families, however, they all show the same thing. It's either they have serif, little serif, slab serif, no serif, or cursive. 

Serif Old Style

Fig. 5.3 Serif Old Style, Week 10 (29/10/21)

Conclusion of Old-style serif:

• First Roman types were originally created between the late- fifteenth century and mid-eighteenth century.
• The axis of curved strokes normally inclines to the left in these designs.
• The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side.
• Serifs are almost always bracketed in Old Style designs and head serifs are often angled.

Fig. 5.4 Serif Old Style breakdown, Week 10 (29/10/21)

Serif Traditional

Fig. 5.5 Serif Traditional, Week 10 (29/10/21)

Conclusion of Traditional serif:

• While the axis of curve strokes can be inclined in Transitional designs, they generally have a vertical stress.
• Weight contrast is more pronounced than in Old Style designs.
• Serifs are still bracketed and head serifs are oblique.
• These typefaces represent the transition between Old Style and Neoclassical designs and incorporate some characteristics of each.

Fig. 5.6 Serif traditional breakdown, Week 10 (29/10/21)

Serif Slab

Fig. 5.7 Serif Slab, Week 10 (29/10/21)

Conclusion of serif slab:

• Slab serif typefaces became popular in the nineteenth century as advertising display designs.
• These typefaces have very heavy serifs with little or no bracketing. 
• Changes in stroke weight are imperceptible.
• Many view slab serif type styles as sans serif designs with the simple addition of heavy (stroke weight) serifs.

Fig. 5.8 Serif Slab breakdown, Week 10 (29/10/21)

Sans Serif Grotesque

Fig. 5.9 Sans Serif Grotesque, Week 10 (29/10/21)

Conclusion of sans serif grotesque:

• The first commercially popular sans serif typefaces.
• The contrast in stroke weight is most apparent in these styles, there is a slight “squared” quality to many of the curves
• The R has a curled leg and the G usually has a spur.
• Some modern sans serif designs derive from the first Grotesques but are more refined in form. 

Fig. 5.10 Sans Serif Grotesque breakdown, Week 10 (29/10/21)

Sans Serif Geometric

Fig. 5.11 Sans Serif Geometric, Week 10 (29/10/21)

Conclusion of serif slab:

• Simple geometric shapes heavily influence the construction of these typefaces.
• Strokes appear like strict monolines, and seemingly perfect geometric forms make up the character shapes.
• Geometric sans tend to be less readable than Grotesques.

Fig. 5.10 Sans Serif Geometric breakdown, Week 10 (29/10/21)