Typography / Task 3: Type Design & Communication
10.10.2022 - 7.11.2022 / (Week 7 - Week 11)
Derin / 0354969 / Design in
Creative Media
GCD 60104 / TYPOGRAPHY
Task 3 / Type Design &
Communication
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INSTRUCTIONS
Task 3 (30%): Type Design & Communication
You will be tasked to design a limited number of western alphabets. To begin, choose an existing font design that adheres to the direction that you would like to head in. Study the font carefully by analyzing its anatomical parts.
You will endeavor to create a typeface that has the hallmarks of a good typeface; subtlety, character, presence, legibility and readability. Below are the letters you will design: a e t k g r i y m p n ! # , . Upon completion of the font, you will create a basic A4 size poster displaying your font.
Learning Goals:
1. To develop student’s ability to construct a
readable and legible font.
2. To develop student’s ability to design a
font with consistent characteristics premised on research and analysis.
TASK 3
1. Research on Type Design
Stroke is defined as a line that is used to build a character. Strokes can be straight, or curved, thick, or thin. The straight main stroke of a character is called a stem stroke; these strokes can be vertical or diagonal and are often thicker than the other strokes of the letter. The thinner, secondary strokes of a character are called hairline strokes.
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| Fig 1.1 Stem Stroke vs Hairline Stroke |
When two strokes angle upward toward each other, the outermost where they meet is called the apex. Meanwhile, when two strokes angle downward toward each other, the outermost point where the two strokes meet is called the vertex. Apexes and vertexes can be pointed, flat, rounded, oblique, hallowed, or extended.
The letter G has special strokes. Spurs, loops, links, and ears are all specific for the letter G. A spur is the small stroke that is sometimes found at the right side of the base of a capital letter G. A loop is the lower curved portion of a lowercase g, and a link is the small connecting stroke that joins the upper and lower parts if a lowercase g. An ear is a small stroke that sometimes extends from the top of a lowercase g.
An aspect of type is contrast, which is the variation in thickness between a character's thickest and thinnest stroke weights. The angle of stress is based in the calligraphic ancestry of print, a wide nibbed pen make a varying mark depending on the angle at which the pen is held. The angle of stress describes the angle to which the main strokes of a typeface aim, in relation to their baseline.
Reference:
Rabinowitz Deer, Tova. Exploring Typography. Clifton Park, NY, Thomson Delmar Learning, 2006. (2006). Exploring Typography.
2. Type Sketches
The following are a few designs I came up with for this task. The schematics are done in Clip Studio Paint using a G-pen. I used graph paper for the background to make it easier to define the height and width. From the three designs I did, I decided to digitalize Sketch #3 since I like it the best.
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| Fig 2.1 Sketch #1 |
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| Fig 2.2 Sketch #2 |
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| Fig 2.3 Sketch #3 |
3. Deconstruction of Typeface
I chose to deconstruct Bodoni Std as it has the closest to design 3 among the 10 typefaces Mr. Vinod provided. This process was done using Adobe Illustrator
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| Fig 3.1 Typeface deconstruction of Bodoni's letters e, g, and r |
From the above deconstruction, we can conclude that the Bodoni typeface is part of the serif category and alternates between thick and thin strokes. Other than its significant difference between thick and thin lines, another unique feature of Bodoni is that it is unbracketed, has thin serifs, a vertical axis, horizontal stress, and a small x-Height. It has a modern yet elegant look which is why Bodoni is used a lot in headings and displays.
4. Digitalization of Type Design
We are finally in the digitalization process. First, I created the guide lines Mr. Vinod did in his tutorial video: Ascender height, Capital height, x-Height, Baseline, and Descender line. Afterwards, I proceed to digitalize my sketch.
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| Fig 4.1 Digitalized Type Design, Week 10 (05/11/2022) |
Upon receiving Mr. Vinod's feedback, I made changes to my type design.
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| Fig 4.2 Construction process, Week 11 (11/11/2022) |
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| Fig 4.3 Basic shapes used to create type design, Week 11 (11/11/2022) |
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| Fig 4.4 Revised Digitalized Type Design, Week 11 (11/11/2022) |
5. Inputting Type Design into FontLab
Once I finalized my type design, I referred to the tutorial video on inputting and exporting our font in FontLab by Mr. Vinod.
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| Fig 5.1 Copy-pasting Type design into FontLab 8, Week 11 (13/11/2022) |
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| Fig 5.2 Kerning process, Week 11 (13/11/2022) |
Final Outcome
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| Fig 5.3 Type Design - JPEG, Week 11 (13/11/2022) |
Measurements (from baseline)
Ascender: 805 pt
Caps height:
805 pt
x-Height: 500 pt
Descender: -300 pt
Line gap: -310
pt
Base line: 0 pt
6. Type Design Showcase Poster
After inputting the fonts to FontLab 8, an integrated software that helps
you create fonts, I proceed to create a poster to showcase my type design as
instructed by Mr. Vinod. My love for silly-sounding words ultimately led me
to name my type design 'Swanky Serif'. Swanky is an appropriate name since
it means fancy and stylish, thereby fitting with the typeface.
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| Fig 6.1 Type Design Showcase Poster - JPEG, Week 11 (13/11/2022) |
Download Link: Swanky Serif Typeface
FEEDBACK
Specific Feedback: Mr. Vinod suggests the width of the letters g, e, r to be readjusted. The symbols also needs some fixing.
General Feedback:
At the beginning of the class, Mr. Vinod refers to an external link he has shared on facebook to understand punctuations further. A curve must overshoot the base line if it meets. a good typeface has a good contrast
Specific Feedback:
It looks good overall but there are problems with the consistency. I mustn't overlook the consistency of the thin strokes. Since my letter 'e' is diagonal, I should implement the diagonal design to other letters as well. There is also a problem with the consistency of the baseline; overshooting with a circle is fine, but not a curve like in my letter 'k'. The exclamation mark also looks awkward, Mr. Vinod recommends a rounder shape for the upper part. The tail of the comma is also too thin
REFLECTIONS
Experience:
Task 3 was enjoyable to work on as we let
our creativity take over. The task is manageable as long as we watch
Mr. Vinod's lecture videos. Outside of that, it irked me how we only
had an online typography class for a few consecutive weeks.
Observation:
I observed the importance of doing each
task periodically instead of rushing it overnight. What seems okay
today may be seen differently another day. Therefore, we must
reflect on our work and ameliorate it every so often.
Findings:
I discovered that receiving feedback from
different people helps since it allows viewing my design in a
different light.
FURTHER READING
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| Fig 7.1 Exploring Typography by Tova Rabinowitz |
Rabinowitz Deer, Tova. Exploring Typography. Clifton Park, NY, Thomson Delmar Learning, 2006. (2006). Exploring Typography.
I borrowed a book Mr. Vinod recommended from the library for this week's reading. Since we have to create a type design for this task, I read about 'Shapes of Type' on page 52 as a guide to start working on my design. This page covered Terminals and Serifs.
Terminals and Serifs
- A terminal is an endpoint of a stroke.
- Serifs are extensions located at letters' terminals.
- Sans-serif is a typeface without serifs.
- Upright letters that have serifs are often referred to as roman.
- Shapes of serifs can be oblique (angled), rounded, cupped (arched like a foot), splayed (widens gradually), pointed, flat, squared, or scalloped.