17/10/2023 - 29/11/2023 (Week 8 - Week 14)
Lee Wing Kie / 0364251
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 3 - Type Exploration and Application
LECTURES
Lectures 1 to 4 completed in Task 1 - Exercise 1 and 2
Lectures 5 completed in TASK 2 - 2A & 2B
INSTRUCTION
Task 3: Type Exploration and Application
For task 3, we assigned to explore the use of an existing letterform in an area of interest,
2. Digitalization
After feedback given by Mr. Vinod, my typeface is inconsistent, and it is confusing because the purpose and utility of the typeface are unclear. Mr. Vinod suggests removing the blind dots, and if there is enough time, I can change to another topic.
INSTRUCTION
Task 3: Type Exploration and Application
For task 3, we assigned to explore the use of an existing letterform in an area of interest,
understand its existing relationship, identify areas that could be
improved upon, explore possible solutions or combinations that may add
value to the existing letterform / lettering. End result: a complete
generated font (.ttf) with applications.
Task 3: Type Exploration
Progress of work:
1. Research & Proposal Ideations
Fig 1.1 Proposal Ideations - PDF (Week 8: 18/10/2023)
Based on the feedback received in week 9 from Mr. Vinod, I will be
working on (Idea 1) a monospaced design combined with blind dots
(Braille). Here is an excellent type exploration reference provided by Mr.
Vinod.
References
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| Fig 1.1 Reference (Week8: 18/10/2023) |
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| Fig 1.2 Reference2 (Week8: 18/10/2023) |
2. Digitalization
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| Fig 2.1 Screenshot Progress in Adobe Illustrator (Week 9: 25/10/2023) |
After feedback given by Mr. Vinod, my typeface is inconsistent, and it is confusing because the purpose and utility of the typeface are unclear. Mr. Vinod suggests removing the blind dots, and if there is enough time, I can change to another topic.
I changed to Idea 2 (can refer back to the proposal) that I will
continue to work on my typeface from Task 2. I will create a typeface that
blends English and Chinese, a
crossover cultural typeface.
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Fig 2.2 Typeface that I worked on in Task 2
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In the second attempt at the typeface, you can observe the Chinese fonts beside. This is because it is a typeface that blends both English and Chinese elements. I utilized the strokes from Chinese fonts along with the foundation of the "Geometric" font, blending them to create an entirely new typeface.
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Fig 2.4 Uppercase and Lowercase Letter (Week 10: 1/11/2023)
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3. FontLab
After creating all the fonts and applying smoothing tools in Adobe Illustrator, these fonts look perfect. Then, I proceeded to copy my fonts to FontLab.
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Fig 3.1 Screenshot in FontLab 7 (Week 12: 14/11/2023)
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4. Final Outcome
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| Fig 4.1 Uppercase in JPEG (Week 12: 14/11/2023) |
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| Fig 4.2 Lowercase in JPEG (Week 12: 14/11/2023) |
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| Fig 4.3 Numbers & Symbols in JPEG (Week 12: 14/11/2023) |
Font Link:
Geometric KIES:
https://drive.google.com/file/d/1Q9Unyp1Zi1ybVN8iaLlXS6uvTztxYutl/view?usp=sharing
FEEDBACK
https://drive.google.com/file/d/1Q9Unyp1Zi1ybVN8iaLlXS6uvTztxYutl/view?usp=sharing
Application
For my application, my idea was to create a cover design related to
Japanese or Chinese cuisine. I believe the typeface I created is more
suitable for these cultural themes.
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| Fig 5.1 Screenshot in Adobe Illustrator (Week 13: 22/11/2023) |
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| Fig 5.2 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.3 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.4 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.5 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.6 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.7 Typeface Display (Week 13: 22/11/2023) |
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| Fig 5.8 Typeface Display (Week 13: 22/11/2023) |
Fig 5.9 Final Task 3: Type Exploration and Application - PDF (Week 14:
29/11/2023)
FEEDBACK
Week9
General Feedback:
Proposal idea okay, can create a monospaced font. One thing to note is that monospaced fonts have no spacing, and the space between characters is consistent. You can refer to the Braille Neue font for an example.
Proposal idea okay, can create a monospaced font. One thing to note is that monospaced fonts have no spacing, and the space between characters is consistent. You can refer to the Braille Neue font for an example.
Week 10
General Feedback:
The typeface is inconsistent, and it is confusing because the purpose and utility of the typeface are unclear. Recommend removing the blind dots as they don't add much value.
Week 11
No feedback, absent
The typeface is inconsistent, and it is confusing because the purpose and utility of the typeface are unclear. Recommend removing the blind dots as they don't add much value.
Week 11
No feedback, absent
Week 12
Can continue making the presentation.
Week 13
No feedback, absent
Week 13
No feedback, absent
REFLECTION
Experience
Designing a typeface was fun, although I initially found it complicated.
As I delved into the process, everything began to take shape and align
with my expectations. It immersed me in the intricate world of
letterforms, pushing me to develop designs and refine my focus down to the
smallest details. The experience expanded my understanding of typography.
However, when starting the proposal for our final project, I faced
challenges as my ideas were rejected. Eventually, I decided to continue
designing the typeface I created in the previous task (Task 2), one of the
few aspects I am satisfied with. Overall, this task was interesting, and I
really enjoy it.
Observations
During the type design project, I extensively explored various
typographic elements such as letterforms and spacing. I delved into the
intricacies of existing typefaces and their applications in different
contexts. I also explored how to blend English and Chinese typefaces to
create a unified typeface.
Findings
At this task, I realized the significance of readability and memorability
in a typeface. A typeface should offer a strong first impression and
possess simplicity and creativity to adapt to various situations.
FUTHER READING
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| Fig 6.1 Book Cover: Typographic Design: Form and Communication |
Typography on screen:
The increasing involvement of designers in on-screen design and underscores the essential need to maintain typographic integrity in this digital environment. However, achieving this goal is intricate due to the constant evolution of technology, including changes in screen sizes, resolutions, and emerging interactive features.
It highlights that typographic considerations for printed communication are applicable to on-screen environments. Yet, designing with type on screens presents additional challenges, and the notion of merely replicating the appearance of printed pages is deemed erroneous. The chapter delves into the intricate relationship between typography and screen environments, with a specific focus on factors such as legibility, visual hierarchy, and the organization of type on digital pages.
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