13 NOV 2023 - 17 DEC 2023 / Week 8 - Week 12
YANG ZHI CHING / 0365154
Typography / Bachelor of Design (Hons) in Creative Media
Task 3 : Type Design and Communication
LECTURES
All Lectures completed in Task 1 · Exercise 1 & 2
INSTRUCTION
Task 3 : Type Design and Communication
Sketches |
For task 3, we had to create out our own typeface, first we had
prepared materials: Graph paper, 3 marker pens (must be 3.0 above),
ten sketch the letter ODHNG / odhng using 3 pens. We need to explore
different writing styles for each of the 3 pens.
Fig 1.1 Sketches done in Graph paper, Week 7
Digitization |
I think the font I designed is based on the curve in the upper
left corner, so in ai, I first used the stroke tool to create
horizontal/vertical lines and vertical lines with curves as
basic lines. After making the strokes, I used
object-path-path outline made it easier for me to adjust. Then
after making the designated letters, I used a fixed-size
background grid to adjust the size of the letters.
Fig 2.1 Basic lines, Week 8
Fig 2.2 Size Adjustment, Week 8
In the process of designing the font, I first designed the
letter O, so the first challenge I encountered was how to
distinguish O and D, because if I insist on the 'curve in the
upper left corner', their presentation Forms can easily become
similar. The following letters also encounter this situation.
I found that I often trapped myself in the 'curve in the upper
left corner' that I had set, so after getting feedback, Mr
Vinod asked me to adjust it, so avoid falling into my own
'rule' is the part I have to learn.
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Fig 2.3 First Version Submitted, Week 9
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Week 11, still in the stage of AI adjusting fonts. After getting
feedback this time, I modified my N, T and H. The thickness of N is
different from other letters, the curves in the upper left corner of
H and I are adjusted to a straight line, the curve of T is also
transferred to the connection, and the size of the punctuation marks
is adjusted. The following pictures are before and after some
adjustments.
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Fig 2.4 Adjustment in Adobe Illustrator, Week 11
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After the AI design draft is finalized, it can be imported
into fontlab. I imported them into fontlab based on the teaching
video given by mr vinod. I have to say that learning new software is
a very challenging thing. I spent a lot of time on it. Find out how
to use this thing. Later I adjusted the bearing with the slogan of
‘The Design School’.
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Fig 2.5 AI convert into Fontlab, Week 12
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Fig 2.6 Bearing adjustment and reference given, Week 12
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Final Type Contruction
Font Download Link:  |
Fig 2.7 Final Type Contrcution with grid, Week 11
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Poster |
After the font was created, we were instructed to download our own
font package and use it to create a font poster. The first thing
we need to do is think of a slogan for poster. So, I used chatgpt
to form some words based on the (o l e d s n c h t i g , . ! #)
letters I made. Actually, I wasn't sure if I could make a word
other than these letters, so I first came up with the slogan based
on the word given. The first thing that comes to my mind is
related to typography and simply ‘Design is a good thing’. Later I
used the 'light edge' suggested by chatgpt to make sentences. So I
used the phrase ‘I see the light edge’, I like the mood of light
edge.
Fig 3.1 Process of poster layout and adjust the line spacing, Week
12
The first picture is 'design is a good thing' before changing
the slogan, but I prefer the second slogan so I changed it. In
the second picture, I wanted to use the black and white
contrasting shapes to express ‘light’, but I thought it would be
too confusing to match my font, so I decided to use simple
typography. The third picture is me using the green shape to
measure the spacing.
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Fig 3.2 Poster layout with ruler view, Week 12
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Fig 3.4 First Version Submitted, Week 13
Week 13, Mr.Vinod mentioned that I should adjust the line spacing between the words to get more space of margin.
Final Poster
Font Name: Dominique
Font Size: 166pt
Line Spacing: 48pt
Subtitle Font: Univers LT Std
Subtitle Font Size: 8pt
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Fig 3.5 Final Poster Black Version, Week 13
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Fig 3.6 Final Poster Black Version after adding point size, Week 13
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FEEDBACK
Week 8 - Type Design Sketch
General Feedback:
None.
Specific Feedback:
We had uploaded our sketches of task 3 in this independent learning week, Mr.Vinod pointed out that I can go with my second sketch. The ‘O’ doesn’t work, probably needs to be rounder. My ‘D’ curved right ought to be thicker when it comes to a vertical position.
Week 9 - Type Design Digitization
General Feedback:
None.
Specific Feedback:
None.
Week 10 - Type Design Digitization
General Feedback:
None.
Specific Feedback:
None.
Week 11 - Type Design Digitization
General Feedback:
Using brush tool may get weird lines, need to unite/delete unnecessary anchors [Shift + Delete Anchor] can reduce anchor but maintain the shape. Line must have ended (like no invisible joint). Always be careful about the counter form.
Specific Feedback:
nteresting but weird. I should refer back to the punctuation tutorial video, as the size of punctuation
should have doubled the thickness of the letter stroke. ‘N’ thickness should be the same as ‘C’. The ‘t’ and ‘I’ look strange and the ‘H’ seems like ‘A’, thus just straight them. More gap needed between the stroke and dot in ‘!’.
REFLECTION
| Experience |
My favorite part is the initial drafting session: using a brush pen to write a rough draft on graph paper. I have always loved the feeling of writing on paper. Later in digitization, I began to encounter difficulties in designing fonts. It was easy to write the fonts on the draft, but to accurately express it in AI requires more detailed and exquisite design, and the words on the draft Type is not necessarily suitable for use in digitize. In short, the process of digitizing fonts is the most energy-consuming and challenging. Later, I imported it into fontlab. I am not very proficient in using the software. In terms of bearing, I did not completely follow Mr. Vinod's reference because it was a bit complicated.
| Observation |
I think font design requires more 'rational' information-based design than feeling, just like mbti's 'T-Thinking' attribute, which requires more thinking and information.
| Findings |
I find that it is easy for me to fall into the 'principles' I have set, and it is difficult to think outside the box. This is what I need to learn.
FURTHER READING
Article Reading - The Evolution of Typography: A Brief History
by John Siebert
Ancient cave paintings from around 20,000 B.C. mark the earliest recorded form of written communication, while formal writing emerged with the Sumerians circa 3,500 B.C. Progressing civilizations gave rise to Egyptian hieroglyphics, integrating symbols into art, architecture, and writings by 3100 B.C. Phoenicians, around 1600 B.C., introduced phonograms representing spoken words, a concept echoed in today's English alphabet symbols.
The Greeks adopted the Phoenician alphabet by 1000 B.C., coining the term "Alphabet" from the first two Greek letters, Alpha and Beta. Romans further refined the alphabet and introduced uppercase letters, alongside various lettering styles and scripts for official and unofficial writings.
The Middle Ages saw hand-written manuscripts with diverse writing styles, particularly Unicals and half Unicals. Calligraphy, page layout, and lettering evolved during this period, with calligraphy masters sharing knowledge globally.
Gutenberg's printing press in the 15th century revolutionized typography. Practical and decorative typefaces emerged, alongside a more ordered page layout and subtle illustrations. The Industrial Revolution led to larger, catchier typefaces for mass communication, with experimental serif and sans-serif typefaces.
Graphic designers today leverage diverse tools to create typographic styles. A historical understanding of typography aids designers in refining their work, recognizing the evolution of elements, and learning from past successes and failures. From ancient styles to movable type, typography's rich history informs contemporary design, fostering innovation and a deeper connection with clients' needs.
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