Typography - Task 3: Type Design & Communication
2023.11.14 - 2023.12.18 / Week 8 - Week 13
Teo Mei Hui / 0358315
Typography / Bachelor of Design (Honors) in Creative Media / Taylor's University
Task 3: Type Design & Communication
CONTENTS
LECTURES
All lectures 1 - 6 completed in Task 1 and Task 2.
INSTRUCTIONS
Task 3: Type Design and Communication
For this task, we are required to design our own typeface. First, we have to
use three different marker pens (3.0 and above) to sketch out
o d h n g in either uppercase or lowercase letterform so we can explore
various options. Then, we are to choose the most ideal option and move on to
digitization in Adobe Illustrator and Fontlab. We have to design the letters
and punctuation marks o l e d s n h c t i g . , ! # for our typeface,
then create a basic A4 poster to display our typeface.
Dissection of letters
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| Figure 1.1 Typeface dissection, week 8 (14/11/2023) |
Upon observing Futura Std, I realized it is a typeface with very little
contrast in the width of the vertical and horizontal strokes. Besides that, it
is observed that the part of the stroke that connects the bowl of g and b to
their stem is slightly thinner than the rest of the stroke. As for the letter
g, it seems the curve of the descender resembles the curve of the bowl, but
slightly compressed.
I sketched out the letters we have to digitize in the style of sketch 2a and 3b. I also sketched another version of 3b but I played around with the angle and length of the strokes in the hexagon. In the end I chose to digitize sketch 3b as it was more interesting.
I put the different options of g in a word to compare which would be the best option. The first 2 option both works, it is yet another choice of aesthetics. I went with the second option since I thought it looked the best, Miss Hsin Yin also said it is the most alike with gothic black letter's g.
Final Typeface Construction
After I finalized my typeface, I used expand and unite tool to make my letters and punctuations into paths. Then, I continued the digitization process in Fontlab.
Research
Before I started constructing my typeface, I revised on the anatomy of typefaces so that I could make sure to come up with a legible typeface. I also looked at various existing fonts to gain inspiration.
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| Figure 1.2 Research - anatomy of a typeface, week 9 (21/11.2023) |
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| Figure 1.3 Research - inspiration, week 9 (21/11/2023) |
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| Figure 1.4 Research - inspiration, week 9 (21/11/2023) |
Sketches
First, I explored different sketches to come put with my own typeface
using a brush pen, marker pen and highlighter. I came up with 13 sketches
in total, in which I made the typeface curvy or blocky, and also played
with the angle of the horizontal strokes.
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| Figure 1.5 Brush pen sketches, week 9 (21/11/2023) |
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| Figure 1.6 Marker pen sketches, week 9 (21/11/2023) |
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| Figure 1.7 Highlighter sketches, week 9 (21/11/2023) |
Upon getting feedback, I was told that sketch 3b had the most potential to
develop into my final typeface. Since the hexagonal shape resembles gothic
black letters, I could refer to it, and create a mono-linear modernized
version of it. Sketch 2a, which is my own preferred sketch also has
potential as long as I make the directions of all the horizontal strokes the
same.
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| Figure 1.8 Final sketch, week 9 (21/11/2023) |
I sketched out the letters we have to digitize in the style of sketch 2a and 3b. I also sketched another version of 3b but I played around with the angle and length of the strokes in the hexagon. In the end I chose to digitize sketch 3b as it was more interesting.
Digitization in Adobe Illustrator
I first digitized all the alphabets required in Adobe Illustrator using
strokes and shapes (polygon).
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| Figure 1.9 Digitization process, week 10 (28/11/2023) |
I refined the curve of the s and the serifs after getting feedback from
Miss Hsin Yin, where we referred to the actual gothic black letter.
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| Figure 1.10 Digitization process, week 10 (28/11/2023) |
I also digitized the different version of typeface by tweaking the stroke
length and angle of the hexagonal shape. Miss Hsin Yin said that both works,
and it is a choice of aesthetic. The tweaked version may offer a little more
dynamism, but the symmetrical version may be more easing towards the eyes.
Since there already seems to be a lot going on with my typeface, I decided
to go for the symmetrical version.
Miss Hsin Yin suggested I redo the g for my typeface while referring to the actual gothic black letters. I also digitized the punctuation marks, where I struggled with the hashtag and exclamation mark.
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| Figure 1.11 Digitization process, week 10 (28/11/2023) |
Miss Hsin Yin suggested I redo the g for my typeface while referring to the actual gothic black letters. I also digitized the punctuation marks, where I struggled with the hashtag and exclamation mark.
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| Figure 1.12 Digitization process, week 11 (05/12/2023) |
I put the different options of g in a word to compare which would be the best option. The first 2 option both works, it is yet another choice of aesthetics. I went with the second option since I thought it looked the best, Miss Hsin Yin also said it is the most alike with gothic black letter's g.
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| Figure 1.13 Comparison of three options of 'g', week 11 (05/12/2023) |
Final Typeface Construction
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| Figure 1.14 Expanding and uniting into paths, week 11 (05/12/2023) |
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| Figure 1.15 Final typeface construction, week 11 (05/12/2023) |
After I finalized my typeface, I used expand and unite tool to make my letters and punctuations into paths. Then, I continued the digitization process in Fontlab.
Fontlab
First, I set the measurements for my typeface in Fontlab.
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| Figure 1.16 Fontlab process - measurements, week 12 (12/12/2023) |
Then, I copy-pasted my letters into Fontlab. I also got rid of the
unnecessary anchor points in my typeface here.
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| Figure 1.17 Fontlab process - copy pasting, week 12 (12/12/2023) |
After that, I adjusted the side-bearings for each letter.
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| Figure 1.18 Fontlab process - side bearings, week 12 (12/12/2023) |
I also adjusted the kerning for certain letter pairings by trying out
different words with the letters.
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| Figure 1.19 Fontlab process - kerning, week 12 (12/12/2023) |
Once I was satisfied with the letter-spacings, I exported my typeface, and
named it Resurrect Regular. This is because my typeface takes
inspiration from gothic black letters, but it is like a modern version, so
it felt like I 'revived/resurrected' it in modern times, if that makes
sense.
A4 Poster
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| Figure 1.20 Poster process, week 13 (18/12/2023) |
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| Figure 1.21 Poster process, week 13 (18/12/2023) |
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| Figure 1.22 Poster process, week 13 (18/12/2023) |
I decided to use the words delights, echo, glisten, shine for my poster
after generating it from chatGPT. I realized black background looked nicer
so I went with that.
Final Submission
Download font here:
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| Figure 1.23 Screengrab of Fontlab, week 13 (18/12/2023) |
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| Figure 1.24 Final type construction in AI (jpeg), week 13 (18/12/2023) |
Figure 1.25 Final type construction in AI (pdf), week 13 (18/12/2023)
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| Figure 1.26 Final A4 poster, week 13 (18/12/2023) |
Figure 1.27 Final A4 poster (pdf), week 13 (18/12/2023)
FEEDBACK
Week 9
General feedback:
Sketches should be done with black pens so that we can observe the strokes
better.
Specific feedback:
Sketch 2a and 2b will only work if all the horizontal strokes go the same
angle. Sketch 3b is interesting, it looks like the gothic black letter, can
be developed into modern monolinear version of it.
Week 10
General feedback:
We should pay attention to the baseline, x-height, ascender and descender
height. We must maintain the unity and consistency of our font.
Specific feedback:
Both versions are good, one is symmetrical and one is more dynamic, it's a
matter of aesthetic choice. The symmetrical version is easier to manipulate
though.
Week 11
General feedback:
The top of the letter t generally does not reach the ascender line.
Specific feedback:
The new options of 'g' are much better, just need to adjust a little and
choose the preferred option. Miss Hsin Yin suggested to choose the one that
is similar to actual black letter 'g'. The exclamation mark and hashtag can
be lighter (lesser point size) so that it doesn't catch too much attention.
The diagonal stroke at the top and bottom can be smaller too.
Week 12
General feedback:
Make sure to change your letters into paths by using expand and unite.
Ensure artboard height is 1000pt before transferring the typeface into
Fontlab.
Specific feedback:
The exclamation mark still needs a little adjustment, maybe we can consider
referring to the normal exclamation marks that is thicker on the top. As for
the vertical strokes, it should be a parallelogram instead of triangle, if
you consider how black letters are written.
Week 13
General feedback:
Avoid overdoing the poster design, it should be grayscale and should not
have graphical elements, since the main point is to showcase our typeface.
Specific feedback:
The poster is good already, but if you want to improve it, maybe adjust
the leading. Can explore different layouts as well.
REFLECTION
Experience
When i first heard we were gonna create our own typeface, it shocked me a
little, because it sounded difficult. However, I was also quite excited
because it is such a unique opportunity that we are able to create a typeface
that can actually be used and typed out, I explored many sketches, it was fun
since I used to do calligraphy writing a lot. The digitization phase wasn't as
hard as I thought once I got the hang of it, also since we've been using Adobe
Illustrator a lot throughout the whole semester. Fontlab was a new experience,
luckily it was quite simple to use and I was able to finalize my font with
ease. Overall, it was a cool experience.
Observations
When creating a typeface, we must ensure the unity and consistency of the
letters in our typeface, the characteristics must be the same. There are also
a lot of aspects that we have to be aware of such as the alignment of
baseline, ascender height as well as descender height. I got to learn how to
maintain the harmony of the punctuation marks with the letters by changing the
weight and height.
Findings
Through this assignment, I got a lot of feedback from miss Hsin Yin, and every
time I will keep refining my typeface, it showed me how important it is to get
advice from our tutors. Besides that, I realized that small changes can
influence the design a lot, when I edited some minor details in my typeface,
it looked a lot better. Besides, when I tweaked certain angles for my design,
it gave off a whole new vibe. It really is interesting how every design
decision matters.
FURTHER READING
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| Figure 2.1 The Vignelli Canon by Massimo Vignelli (2010) |
This book was written by Massimo Vignelli, a well-known Italian designer in
the field of graphic design and industrial design. He wrote this book for
designers to enhance their understanding of typography in graphic design, by
introducing the rules and guidelines, as well as typographic principles. The
book is separated into two parts, which are The Intangibles and The
Tangibles.
Part One - The Intangibles
Design is One
It is important to master a design discipline, which is to be able to
design everything, because that is what's essential in every
project.
Visual Power
It is crucial that a design is imbued with visual strength and unique
presence. There are many ways to achieve visual power, such as using
scale and contrast, or manipulating light, texture and material. It
can be achieved by using delicate layouts or materials
Intellectual Elegance
To Vignelli, intellectual elegance is the sublime level of intelligence
which has produced all the masterpieces in the history of mankind. It is
a thread that guides us to the best solution in whatever we do. It is
not a design style, but the deepest essence of design.
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