TYPOGRAPHY TASK 03 / TYPE DESIGN & COMMUNICATION
11.10.2022 - 18.11.2022 (Week 7 - Week 12)
Sheryl Pang Pui San / 0349746
Typography / Bachelor of Design (HONS) in Creative Media
Task 03 - Type Design & Communication
Typography / Bachelor of Design (HONS) in Creative Media
Task 03 - Type Design & Communication
LECTURES
INSTRUCTIONS
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src="https://drive.google.com/file/d/1uwnHyceOUkkO0_YsGL7tqSP4Ed6LEfHV/preview"
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After completing the font, we are to kern it at FontLab and make an A4 poster from the font that we make.
I deconstruct some of the uppercase letterform in AI and choose Bodoni STD typeface as my reference font. Form deconstructing the letterform, I've observed that even though the angle of length of the letter looked the same to the eyes, but it's actually different, such as the serif of the R and the angle of the crossbar of letter E.
SKETCHES
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TASK 3 - TYPE DESIGN & COMMUNICATION
DECONSTRUCTION OF LETTERFORM (AI)
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| Deconstruction of letterform - I, E, R and M, (Week 7, 11/10/2022) |
I deconstruct some of the uppercase letterform in AI and choose Bodoni STD typeface as my reference font. Form deconstructing the letterform, I've observed that even though the angle of length of the letter looked the same to the eyes, but it's actually different, such as the serif of the R and the angle of the crossbar of letter E.
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Figure 1.1 font sketches, (Week 7, 11/10/2022)
MAKING DIGITALISATION FONT
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| Figure 1.2 constructing basic sturcture, (Week 8, 18/10/2022) |
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| Figure 1.3 refining font structure, (Week 9, 25/10/2022) |
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Figure 1.4 rounding the edges of the font, (Week 10, 1/11/2022) As the font doesn't have the same consistency, I decided to construct my font again, starting from the base structure and ensure the fonts have the same consistency in the stroke weight, curve, and length. I have also decided to move on to do the uppercase letter |
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Figure 1.5 Base structure of letter O and I, (Week 11, 8/11/2022) I construct the letter O using shape tool and letter I using pen tool, following my rough pencil sketch #1, after that, I duplicate the characteristic of curve in the letter O to my other letter G, R and P. I used the basic structure of I as the vertical stroke for my other letters. |
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| Figure 1.6 Digitalization of uppercase font, (Week 11, 8/11/2022) |
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| Figure 1.7 Font of the outline (Week 11, 8/11/2022) |
The font is still looking unconsistent, so i decided to improve and change the
font a bit.
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Figure 1.8 Reconstructing the letter I and adding serif to it (Week 12,
15/11/2022)
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Final digitalise letters:
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| Figure 1.10 Screenshot of letters with guidelines, (Week 12, 15/11/2022) |
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| Figure 1.11 Screenshot of outline of the letters with guidelines, (Week 12, 15/11/2022) Cap Height : 690 pt Baseline : 0 pt |
After completing the letters, I copy and paste them to FontLab to kern them.
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Figure 1.12 Copying and pasting the letters into FontLab, (Week 12,
15/11/2022)
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Figure 1.14 Finished of kerning in Fontlab, (Week 12, 18/11/2022) |
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Figure 1.15 letters in FontLab, (Week 12, 18/11/2022) |
After finishing the kerning of the letters, we are required to make a poster
using the letters that we have made.
Layouts of poster using the font that I made:
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| Figure 2.1 Different layouts of poster making |
Final Outcome
Font downloadable link:
https://drive.google.com/drive/folders/1arnY6M5ykJYKIQjPRICg_q7afOOc2szH?usp=share_link
Figure 3.1 Final Font "Lyrehs" for Task 3: Type Design & Communication, JPEG (Week 12, 18/11/2022)
Figure 3.2 "Lyrehs" poster A4, JPEG (Week 12, 18/11/2022)
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| Figure 3.1 Final Font "Lyrehs" for Task 3: Type Design & Communication, JPEG (Week 12, 18/11/2022) |
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| Figure 3.2 "Lyrehs" poster A4, JPEG (Week 12, 18/11/2022) |
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Figure 3.3 Final Task 3: Type Design & Communication "Lyrehs", PDF
(Week 12, 18/11/2022) |
<iframe
src="https://drive.google.com/file/d/1c3gs8ZFtDoKmm_0XyLP_NNMPry0Zn8B4/preview"
width="640" height="480" allow="autoplay"></iframe>
Figure 3.4 "Lyrehs" poster A4, PDF (Week 12, 18/11/2022)
<iframe src="https://drive.google.com/file/d/17XHLnEQXTtdR__Y1tRneMKueOFtOOhPR/preview" width="640" height="480" allow="autoplay"></iframe>
FEEDBACK
Week 11General Feedback
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Keep the letters consistent, generate your letters in FontLab, make sure you
provide enough evidence to prove that you made your letter from scratch in the
documentation on the blog.
Specific Feedback
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Keep the uppercase letter at the cap height the letter "M"
is awkward, O and G kinda have the same consistency, need to work more on the
other letters such as A, P, etc. # can be bigger or higher and the ! should be
smaller.
Week 10
Specific feedback
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Refine the sketches, keep consistent stroke weight, same stoke length and width
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Refine the sketches, keep consistent stroke weight, same stoke length and width
Week 9
General feedback
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At least 5 sketches is needed think about the tool that creates the letterform form the structure first then forming the thickness then moving to the details and nuances of the letterform
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At least 5 sketches is needed think about the tool that creates the letterform form the structure first then forming the thickness then moving to the details and nuances of the letterform
Specific feedback
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Maintain the stresses of the stroke on the letter
OBSERVATIONS
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FURTHER READINGS
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Maintain the stresses of the stroke on the letter
REFLECTION
EXPERIENCE
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I struggle with keeping the fonts consistency as this is the first time I am constructing a font from scratch and I am still not really familiar with using Adobe Illustrator. I start again when the font is out of consistency and start again from the base and try to duplicate all the same characteristic to each of the letterform.
OBSERVATIONS
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I observe that even though the letters might look the same to the eyes, but every letter and every typeface has the details and nuances that differentiate them.
FINDINGS
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Throughout doing this project, I found out that when constructing a font or typeface, we need to remain the consistency of the font, the stroke weight, stroke length and width of the font to make it looks like it belongs to the same typeface. I also found that making a typeface really does takes a lot of time to complete it. The kerning of fonts is also important in making a font and typeface.
FURTHER READINGS
- I.D.E.A.S. COMPUTER TYPOGRAPHY BASICS
by David Creamer
Figure 4.1 Front page of the book - I.D.E.A.S. Computer Typography Basics
Serif [pg 2]
Serif fonts are the most common text or “body” copy font. They can also work nicely for headline fonts. “Serifs” are the little feet or arms that hang off the end of letter strokes, and typically add a thick/thin look to the letter.
Serif fonts are considered the easiest fonts to read and come in three sub-categories: Oldstyle, Modern, and Square Serif.
by David Creamer
OLDSTYLE
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Based on classical Roman inscriptions. The letters are very open, wide, and round with pointed serifs and a pleasing contrast between the heavy and light strokes.
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Based on classical Roman inscriptions. The letters are very open, wide, and round with pointed serifs and a pleasing contrast between the heavy and light strokes.
MODERN
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Modern fonts are based on fonts designed over 200 years ago unlike the name "Modern".
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Modern fonts are based on fonts designed over 200 years ago unlike the name "Modern".
They have a greater degree of mechanical perfection than Oldstyle
fonts, and a greater distinction between the heavy/light strokes, and thin/squared
off serifs.
SQUARE SERIF
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Slab Serifs are a contemporary style used mainly for small amounts of text, such as advertising copy, subheads, and headlines. The letters have square serifs and mostly uniform strokes with little contrast.
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Slab Serifs are a contemporary style used mainly for small amounts of text, such as advertising copy, subheads, and headlines. The letters have square serifs and mostly uniform strokes with little contrast.
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| Figure 4.2 Examples of Serif fonts |
Characteristics of font in typography [Pg 8]
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| Figure 4.3 Characters of letters rest along the baseline All characters must “rest” along a baseline. Letters below the baseline are called descenders,
and letters above the x-height are called ascenders. The x-height is the space between the top of the nonascender portion of the lower case letters and the baseline. |
Figure 4.4 Identifying individual parts of characters
The relationship between the uppercase/ascender letters and the x-height depends solely on the design of the font.
Fonts with a large x-height, or “tall” lower case characters, are easier to read than fonts with small x-height characters.
Another critical factor between different fonts is the depth of the descenders and their shape.
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| Figure 4.5 Note the differences in x-height, ascenders, and descenders in these fonts set at 24pt. |
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