Typography Task 3A
24/5/2022-7/6/2022 (week8-week10)
Ng Jia Xien / 0355062
Bachelor of Design in Creative Media / Typography
Task 3A
LECTURES
Make sure to read the brief before doing anything. Do the research by
looking up great typefaces that have been designed before we do our
sketching. After sketching out the typefaces, select one of the typefaces
that are provided which is closer to the design of our own. Type out the
letter and then deconstruct it, looking at the details of how the letterform
is constructed. Don't forget to measure the ascender height, cap height,
median height, baseline, and descender height. Then import the letter into
the FontLab.
INSTRUCTIONS
<iframe
src="https://drive.google.com/file/d/1RAZJ7-17y45PUfmZlCXD4MJbBSgaqu28/preview"
width="640" height="480" allow="autoplay"></iframe>
Task 3A: Type Design & Communication
Our task is to design a limited number of western alphabets. First,
choose an existing font design that adheres to the direction that we
would like to head in. Study the font carefully by analyzing its
anatomical parts. Start with a rough sketch and after approval begins
digitizing the drawings—software for digitization will be determined in
class. If time permits we will generate the font for actual use. We were
asked to design: a e t k g r i y m p n ! # , .
Research
First, I did some research on the fonts I was interested in when I started
working on them. Here are some of the typefaces with different designs that
gave me some inference when I was doing my design.
Recursive
designed by Arrow Type, Stephen Nixon.
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| Figure 1. Recursive |
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| Figure 2. Recursive |
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Figure 3. Recursive |
Ubuntu
designed by Dalton Maag.
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Figure 4. Ubuntu |
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Figure 5. Ubuntu |
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Figure 6. Ubuntu |
Lobster
designed by Impallari Type, Cyreal.
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Figure 7. Lobster |
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Figure 8. Lobster |
Cardo
designed by David Perry
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Figure 9. Cardo |
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Figure 10. Cardo
Sketches
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We are asked to submit five sketches, and after consulting with the lecturer, we both decided to choose number five to transform into a digital version.
Deconstruction
Before I started working on creating the fonts, I started doing some analysis
of fonts that were similar to mine. I basically just focused on the uppercase
letters as I would create them.
Bodoni Std, Roman 1048pt
Ascender line:715
Cap line:700
Median line:440
Baseline:0
Descender line:-233
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| Four strokes are the same size, and one is larger. There is no gap when between the two strokes when they meet. The tail of the larger stroke is longer than the thinner ones. |
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| Although the letter G looks larger than the letter A, it is actually smaller in size. Even for the same stroke, the size of its head and tail are different. |
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| The three vertical strokes of the letter E are slightly different in size. |
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| In the letter R, when strokes meet, a space appears, which doesn't happen in the letter A. |
Futura Std, light condensed 964pt.
Ascender line:726
Cap line:665
Median line:520
Baseline:0
Descender line:-188
In this font, all ascenders are the same.
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| The horizontal line on the letter A is very low, and all the strokes are the same size. The join between two diagonal lines maintains a space between them. |
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| There is only one horizontal stroke found in the letter G, the rest are curved. The space is essentially the same for both sites, with the straight strokes of the letter G exceeding half the size of the entire font. |
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| All the stroke sizes are the same size, but the horizontal line in the middle is slightly shorter than the others. |
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| There are two horizontal lines and a curve in the letter R, same with the letter A, there is a space between two strokes. |
Digitalisation
Below is my first product, but it seems too simple.
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| Figure 12. Typography font design 1, by Ng Jia Xien, 5/26/2022 |
Then I added some details to my font and the result is shown below.
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| Figure 13. Typography font design 2, by Ng Jia Xien, 5/27/2022 |
After consulting with the lecturer, I added more details to my font, and
also changed the letter Y.
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| Figure 14. Final submission for typography font design, by Ng Jia Xien, 5/31/2022 |
French fries,1048pt
Ascender line:715
Cap line:700
Median line:440
Baseline:0
Descender line:-233
After creating the font, I imported it into FontLab.
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| Figure 15, Font export, by Ng Jia Xien, 6/1/2022 |
We were then asked to create a poster by using our own fonts. We could choose
"make type great again", "make type great again!", or "#maketypegreatagain" as
our poster. I tried out different types of layouts and here are my
works.
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| Figure 16, Poster 1, by Ng Jia Xien, 6/2/2022 |
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Figure 18, Poster 3, by Ng Jia Xien, 6/6/2022 |
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Figure 19, Poster 4, by Ng Jia Xien, 6/6/2022 |
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I chose figure 20, poster 5 as my final submission, but in week 11, the
feedback I got mentioned that we should use the same font size for the
poster, so I made some changes to it.
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| Figure 21, Final Submission for type design & communication, by Ng Jia Xien, 6/17/2022 |
Final submission
<iframe src="https://drive.google.com/file/d/1W90Hz2-Zyce6YuENr7jmex0b3zm1LECM/preview" width="640" height="480" allow="autoplay"></iframe>
FEEDBACK
Week 9
Based on my preference for #1 and #5, the lecturer said I could go with #5,
but I would have to increase the stroke size and also eliminate the idea of
showing double lines.
Week 10
The font (Figure 13. Typography font design 2, by Ng Jia Xien, 27/5/2022) is
still too simple, and the letter Y is wrong, also the strokes of # should be
in a different size.
REFLECTION
Experience:
This was my first time creating my own fonts and it was really interesting
for me, I never thought that one day I could type in my own font. However,
it was challenging to create our own typeface too, especially when creating
the letters one by one in the Adobe Illustrator, it was harder than
expected, with every stroke and line size to be noticed.
Observations:
When it comes to typography, even a small difference can come out
differently, so it's important for us to deconstruct a good font and then
come up with our own typeface. I can observe that I pay more attention to
the posters or advertisements in my daily life to see their font design and
typography and learn from it.
Findings:
This was my first time using FontLab software and I had a hard time
mastering it, although we only used it once in task 3A. But it gave me a
great sense of accomplishment through the process of generating and being
used with my own fonts.
Further Reading:
Willen, B. (2009). Lettering & Type: Creating Letters Designing
Typefaces. Princeton Architectural Press, New York
System- any letter or typeface is based on a system. As the moral code of the alphabet, the typographic system is a set of visual rules and guidelines that govern the actions and decisions made when creating letters.
These implicit systems enable characters to work together by regulating and defining their appearance dictating their shape and size, how they fit together, and their visual spirit, as well as other underlying tenets of the alphabet.
A well-established system constitutes the core of any typeface. Whether aware or unaware, type designers establish and follow rules that guide the myriad of choices involved in creating typefaces. Every decision that affects the visual code of the alphabet or the relationship between any letters is part of a typographic system. By following a strict system, the designer creates a typeface whose characters interact in a natural and consistent way.
Typographic systems do not always remain static. As unique creations,
letters and handwriting embrace a more flexible relationship between
characters, but the system imposes as many constraints on them as it does on
fonts. Unlike type, each letter or written character is created for the
specific instance or word used, which gives the designer more room to define
the system. The treatment of a letter may even contain many versions of a
character, visually unified by the style or personal hand of the letter
designer.
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