15/5/2023 - 26/6/2023 / Week 8 - Week 13
Lee Wing Kie / 0364251
LECTURES
All lectures 1 to 6 completed in Task 1 - Exercise
Typo Task 3A Typeface Construction (Shapes)
We have to ensure our font design is following the basics of Typography;
- Ascender height and Descender line (ascender and descender line must be within 1000pt)
- Baseline (X-height must be 500pt)
- Capital height
- Mean/median line
Notes:
- X-height must be 500 points (make a shape 500 × 500 pt).
- Ascender and descender line must be within the 1000 × 1000 pt artboard.
- If the design's x-height exceeds 500 pt, the design must be reworked. The same goes for the ascender and descender if they exceed.
- Overshoot: Optical/technical reasons.
- How to decide counter space: Same amount of space (thickness) between the 2 stems/half the size of a stem.
- Unite base shapes with pathfinder.
INSTRUCTION
Task 3: Exercise - Type Design and Communication
For Task 3, we have to design a limited number of Western alphabets. To begin, we must select a font design that aligns with the style we want to achieve. Next, we analyze the individual components of the selected font, make rough sketches of our own typeface, and then digitize those sketches using Adobe Illustrator and FontLab.
1. Writing Activity: 5 tools in 5 different ways
We started Task 3 with this writing activity. These are the instructions:
2. Research
In order to proceed, we need to select a pre-existing typeface that closely matches our design. We will then analyze and deconstruct the letterforms of this chosen typeface. Mr. Vinod has advised us to select fonts that resemble our own sketches. After careful consideration, I have chosen Margaret Shephard Bold Italic as the closest match to my sketches.
3. Digitizing the written letters
Mr. Vinod had us digitize some of our sketches in class to assess our
proficiency in the task. Following that, I attempted to digitize the fonts
based on my sketches using the brush tool and pen tool in Adobe
Illustrator.
After using the brush tool to digitize the fonts, I attempted to digitize them using the pen tool. I made some slight changes to the fonts, such as extending and curving the font tail a bit more. I found that the pen tool was more convenient than the brush tool for controlling the curves and angles.
Refinement
For the next week after received Mr. Vinod feedback , I refined the exclamation mark.
I copied all the letters into FontLab7 and individually adjusted the kerning in the metrics tab, following the example video. After finishing the kerning process, I exported the font and installed it on my device.
FEEDBACK
Week 8:
Experiences: Undertaking this typography project proved to be a challenging endeavor, as I encountered various obstacles both at the start and towards the end. Nevertheless, it remains one of my favorite projects in the realm of typography. The process was enjoyable, as it allowed me to create a personalized font using FontLab. Furthermore, I had the opportunity to download and save the font I designed, enabling me to use it on my own device. Throughout this project, I persisted in my efforts, constantly striving to achieve the best possible outcome. Despite its inherent difficulties, I found myself motivated by the prospect of acquiring new knowledge and skills.
Lee Wing Kie / 0364251
Typography / Bachelor of Design (Hons) in Creative Media
Task 3 - Type Design & Communication
LECTURES
Typo Task 3A Typeface Construction (Shapes)
|
| Fig 1.1 Screenshot of Lecture Playlist (Week 8: 23/05/2023) |
We have to ensure our font design is following the basics of Typography;
- Ascender height and Descender line (ascender and descender line must be within 1000pt)
- Baseline (X-height must be 500pt)
- Capital height
- Mean/median line
Notes:
- X-height must be 500 points (make a shape 500 × 500 pt).
- Ascender and descender line must be within the 1000 × 1000 pt artboard.
- If the design's x-height exceeds 500 pt, the design must be reworked. The same goes for the ascender and descender if they exceed.
- Overshoot: Optical/technical reasons.
- How to decide counter space: Same amount of space (thickness) between the 2 stems/half the size of a stem.
- Unite base shapes with pathfinder.
Typo_Task 3A FontLab7 Demo
INSTRUCTION
For Task 3, we have to design a limited number of Western alphabets. To begin, we must select a font design that aligns with the style we want to achieve. Next, we analyze the individual components of the selected font, make rough sketches of our own typeface, and then digitize those sketches using Adobe Illustrator and FontLab.
We started Task 3 with this writing activity. These are the instructions:
- Write diagonal, horizontal, vertical and circular lines for all 5 tools
in 5 different ways for each tool
- Write AOTMX for all 5 tools in 5 different ways for each tool
- Select 1 option from the 5 different options from each tool and write
"a e t k g r i y m p n" in the selected style.
|
|
Fig 2.1 Practice Rounds (Week 7: 16/05/2023) |
Fig 2.2 Practice and Final Outcome with 5 pen nibs (Week 7:
16/05/2023)
|
| Fig 2.3 Practicing and Final Outcome of Writing Style (Week 8: 22/05/2023) |
2. Research
In order to proceed, we need to select a pre-existing typeface that closely matches our design. We will then analyze and deconstruct the letterforms of this chosen typeface. Mr. Vinod has advised us to select fonts that resemble our own sketches. After careful consideration, I have chosen Margaret Shephard Bold Italic as the closest match to my sketches.
|
| Fig 3.1 Margaret Shepherd Bold Italic |
|
| Fig 3.2 Margaret Shepherd Dead Center |
 |
| Fig 3.3 Clear view between uppercase and lowercase of the letter 'a' and letter 'R' |
3. Digitizing the written letters
.jpg) |
| Fig 4.1 "✓" symbol is the one I chose for the digitalization process (Week 9: 30/05/2023) |
|
||
Fig 4.2 Digitization with Brush Tool (Week 9: 30/05/2023)
|
After using the brush tool to digitize the fonts, I attempted to digitize them using the pen tool. I made some slight changes to the fonts, such as extending and curving the font tail a bit more. I found that the pen tool was more convenient than the brush tool for controlling the curves and angles.
|
|
Fig 4.4 Digitization with Pen Tool (Week 9: 30/05/2023) |
|
|
Fig 4.5 Digitization with Pen Tool (Week 9: 30/05/2023) |
After Mr. Vinod gave us feedback and advice on how to improve the
digitization of our typeface, we need to refine our letters to give them a
more "font-like" appearance. Following that, we should watch the tutorial
video on how to incorporate our digitized typeface into FontLab.
|
|
Fig 4.6 Refine #1 (Week 10: 06/06/2023) |
For the next week after received Mr. Vinod feedback , I refined the exclamation mark.
 |
| Fig 4.7 Refine #2 (Week 11: 13/06/2023) |
Measurements
|
| Fig 4.8 Measurements of typeface (Week 10: 06/06/2023) |
Ascender: 728 pt
Capital Height: 690 pt
Median Line: 500 pt
Baseline: 0 pt
Descender: - 224 pt
4. Developing fonts in FontLab7
After completing the final design of my font, I referred to Mr. Vinod's
demonstration video on how to create and export our typeface using
FontLab7.
|
| Fig 5.1 Copy and paste the letters into FontLab7 (Week 11: 13/06/2023) |
|
|
Fig 5.2 Copy and paste the letters into FontLab7 (Week
11: 13/06/2023) |
I copied all the letters into FontLab7 and individually adjusted the kerning in the metrics tab, following the example video. After finishing the kerning process, I exported the font and installed it on my device.
|
|
Fig 5.3 Letter Kerning in metrics tab (Week 11: 13/06/2023) |
5. Final Outcome
|
| Fig 6.1 Final outcome 'aetkgriympn!#,.' in JPEG (Week 11: 13/06/2023) |
Fig 6.2 Final outcome 'aetkgriympn!#,.' in PDF (Week 11:
13/06/2023)
|
|
Fig 6.3 Poster attempt #1 in JPEG (Week 11: 13/06/2023) |
Fig 6.4 Final Typeface Poster in PDF (Week 11: 13/06/2023)
FEEDBACK
Week 8:
General Feedback: Let’s run with the first one.
Specific Feedback: But you need to keep practicing writing in that style. Try making the x-height larger to accommodate the thickness of the tool. Pay careful attention when holding the tool because currently your angles are different in some of the letters (“a” vs “e” vs “t” – all 3 have different axis) that's a mistake.
REFLECTION
Specific Feedback: But you need to keep practicing writing in that style. Try making the x-height larger to accommodate the thickness of the tool. Pay careful attention when holding the tool because currently your angles are different in some of the letters (“a” vs “e” vs “t” – all 3 have different axis) that's a mistake.
Week9:
General Feedback: Choose the best one to make the digitized version.
General Feedback: Choose the best one to make the digitized version.
Week10:
General Feedback: Make some changes to the design.
Specific Feedback: Don't have to design the letter exactly same as your sketches. Can make
some slight changes by incorporating curves and acute angles in the
design.
Week11:
General Feedback: Exclamation mark is a bit weird.
Specific Feedback: The size of the stem stroke on the
exclamation mark is wrong. The top vertical line can simply be copied from
the other letters.
Week12:
General Feedback: Make the font a bit bigger.
REFLECTION
Experiences: Undertaking this typography project proved to be a challenging endeavor, as I encountered various obstacles both at the start and towards the end. Nevertheless, it remains one of my favorite projects in the realm of typography. The process was enjoyable, as it allowed me to create a personalized font using FontLab. Furthermore, I had the opportunity to download and save the font I designed, enabling me to use it on my own device. Throughout this project, I persisted in my efforts, constantly striving to achieve the best possible outcome. Despite its inherent difficulties, I found myself motivated by the prospect of acquiring new knowledge and skills.
Observations: Developing a typeface necessitates a significant investment of time, as
well as thorough research and careful observations. Additionally, I
discovered that crafting fonts demands meticulous attention to detail for
each individual letter. This meticulousness ensures that all the letters
harmonize seamlessly with one another, even down to the smallest
elements.
Findings: Creating typefaces is a meticulous process where even the smallest details
like line ratios, size, and widths matter greatly. It was challenging, but I
spent a lot of time perfecting these details. Although there is still room
for improvement, I gave it my best effort.
FUTHER READING
Chapter 2: Type Design & Development
Designing a full alphabet requires a balance of complementary and contrasting features to create a cohesive and unified typeface. This underlying homogeneity sets typefaces apart from lettering, enabling the integration of unique elements that add personality and style while preserving readability.
FUTHER READING
|
| Fig 7.1 Book cover: Typography Referenced |
Chapter 2: Type Design & Development
|
| Fig 7.2 From a Letter to a Typeface pg39 |
Designing a full alphabet requires a balance of complementary and contrasting features to create a cohesive and unified typeface. This underlying homogeneity sets typefaces apart from lettering, enabling the integration of unique elements that add personality and style while preserving readability.
|
| Fig 7.3 Rendering Environment pg42 |
The rendering environment of a type design application impacts the
connection between paragraph appearance and design choices. Printouts and
zooming in on details have limitations, while testing on different printers
and offset conditions can provide valuable insights. The expansion of
character sets and the establishment of OpenType have allowed designers to
rethink typeface families. While comprehensive systems have their appeal,
families with small weight increments offer flexibility for combining
different typefaces in publications. The increase in typeface families with
a range of weights has been a positive development in recent years.
|
| Fig 7.4 Character Expansion pg47 |
|
| Fig 7.5 Character Expansion pg48 |
The demand for typefaces that support multiple languages and scripts has
been increasing. Brands and publications require larger character sets,
covering various scripts such as Cyrillic, Greek, Latin, Arabic, Hebrew, and
Indian. Typesetting systems have faced challenges in accommodating non-Latin
scripts, leading to adaptations and modifications. However, there is now a
growing interest among designers in creating typefaces for non-Latin
scripts, driven by international branding and localized publications.
Comments
Post a Comment