TYPOGRAPHY / TASK 3 : TYPE DESIGN AND COMMUNICATION

06.11.2023 - 16.12.2023

Graciella Limpah / 0364517 

Typography / Bachelor of Design (Honours) in Creative Media / Taylors University

Task 3

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JUMPLINK

1. Lectures

2. Instructions

3. Feedback

4. Reflection

5. Further Readings

Final Task 3

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LECTURES

refers to task 1

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INSTRUCTIONS

Research

Before starting to do my task 3, I do some research about sans serif and serif fonts as well as typography anatomy.

fig 1.1 Typography anatomy

fig 1.2 Serif vs Sans Serif

Sketches

fig 2.1 Attempt 1 of sketching (13/11/2023)

I personally choose number 9 but Mr Vinod said number 5 is partial. He also added that my sketches is pretty similar one to the other so I try to sketch with another method.

fig 2.2 Attempt 2 of sketching (17/11/2023)

Mr.Vinod suggest me to explore the slant of the sketch, so I go with the handwriting number 1 of fig 2.2. Then we are asked to sketch letter o l e d s n c h t I g , . ! # with our preferred handwriting. 

fig 2.3 attempt 1 of sketching other letter (17/11/2023)

After further discussion with Mr.Vinod, he suggest me to pick the sketches of fig 2.1 number 5 because it has more contrast and it is better. So, I try to write the other letter with that method.

Final Sketches

fig 2.4 Final Sketches (20/11/2023)

Digestion

After that, we were asked to do the detail of dissection to the letter O, D, H, and G with the font closest to our handwriting, and I think mine is the closest to Baskerville font.

Letter H

To begin, I examine the letter 'h.' I note that the horizontal lines at the top and bottom are of equal size, while the vertical lines on the left and right sides are slightly larger but remain equal in size. The curves at the bottom edges are identical in size, whereas the curve inside the letter 'h' is larger. The curve at the top of the letter is the smallest in size.

fig 3.1 dissect letter 'h'

Letter G

During my analysis of the letter 'g,' I observed differences in the sizes of its lines. The lines at the top and bottom are of equal size, while those in the middle differ. The vertical lines at the top part are consistent in size, and the same goes for the lines at the bottom part. Inside the letter 'g,' the curve of the 'o' forms symmetrically, while the curve connecting the top and bottom is smaller than the other. The curve at the bottom also form symmetrically.

fig 3.2 dissect letter 'g'

Letter B 

When I looked closely at the letter 'b', I noticed that its lines and curves are all different sizes. Even though it may seem similar from a distance, a closer look reveals these differences. The curve on the outside of the letter is bigger than the one inside.

fig 3.3 dissect letter 'b'

Letter O

While examining the letter 'o,' I observed its remarkable symmetry. The lines on both the left and right sides are equal in size, as are the lines on the top and bottom. Additionally, the curves within the letter maintain consistent sizes both horizontally (top and bottom) and vertically (left and right).

fig 3.4 dissect letter 'o'

Digitalization

As a practice, I try to digitalize the letter of fig 2.3 and here is the result :

fig 4.1 1st attempt of digitalization (19/11/2023)

I think the letters is a little bit rigid, and after looking through many other tutorial Mr.Vinod provided, I then try to digitalize my final sketches. First, I make the guide lines using Myriad Pro font which Mr.Vinod demo in the YouTube video tutorial.

fig 4.2 Guides

Then, I try to create my sketches into fonts using shapes.

fig 4.3 2nd attempt of digitalization (21/11/2023)

After receiving feedback from Mr.Vinod, I then try to make the letter more consistent and change the letter 's'. And here is the result :

fig 4.4 3rd attempt of digitalization (28/11/2023)

I think the letter is more consistent now and have the same style.

Mr.Vinod say that the letter needs a little bit more change, so I change some letters

fig 4.5 4th attempt of digitalization (04/12/2023)

After receiving Mr.Vinod feedback, I try to change some letters

fig 4.6 Final Digitalization (12/12/2023)

Importing font to font lab 

After digitalization, we are asked to import our font to font lab

fig 5.1 Importing font to Font Lab 

Then, using this chart, I adjust the side bearings of my letters.

fig 5.2 Side Bearings chart 

fig 5.3 Letters after side bearings

Then, I use kerning method to kern the letters.

fig 5.4 Kerning process

And here is 'the design school' with my font :

fig 5.5 The Design School

Poster

After doing our own font, which I named 'Cascade', I started doing the poster as instructed.

fig 5.6 Making Posters (14/12/2023)

After receiving feedback from Mr.Vinod, I finalize my poster.

Playground

FINAL TASK 3 

Download Link : here

fig 6.1 Side Bearings (13/12/2023)

fig 6.2 Final Font jpg (13/12/2023)

fig 6.3 Final Font pdf (13/12/2023)

fig 6.4 Final Poster (18/12/2023)

fig 6.5 Final Poster pdf (14/12/2023)

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FEEDBACK

Week 8 (Independent Learning Week) :

Specific Feedback : The handwriting is pretty similar, and I can try with a slight slant.

Week 9 :

General Feedback : Look through the typographic anatomy before sketching.

Specific Feedback : The letter 'n' need to be reflected, the stroke above and down from the letter 's' need to be thin. The more contrast is better.

Week 10 :

General Feedback : Digitalization can be different from the sketches, it can evolve. Most important on this task is consistency in the thick and thin stroke, proportion of the letter, and the design.

Specific Feedback : The round of the letter 'd' need to be on the lines, need to have contrast whether diagonally or vertically, the letter 't' is awkward, the vertical stroke have to be out stroke, comma is too horizontal.

Week 11 :

General Feedback : The shape of each letter need to be consistent.

Specific Feedback : The round part of the letter 'g' and 'd' need to be the same as the letter 'o', the stroke of the letter 'n' and 'h', as well as the '!' and '#' need to be the same size, letter 's' need to be change, cross stroke of letter 't' is a bit too high.

Week 12 (Public Holiday) :

Specific Feedback : The letter '!' and '#' need to be more narrow, comma need to be at the baseline, the letter 'd' need to be more consistent.

Week 13 :

General Feedback : For the poster, need to make the text bigger, so the negative space is not much.

Specific Feedback : Poster can be better

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REFLECTION

Experience 

Making my own font is one of the task that I never thought I would done. As I delved into each letterform, I found myself navigating to a realm of creativity. Every stroke and curves played a very important role in shaping the identity of the font. Throughout this task, I really enjoyed it although I felt a little bit stress. 

Observation 

There are a lot of ways to make fonts, but in this task, we are asked to sketch it out first with a 3.0 points size pen. Although we are asked to sketch with the same size of pen, but everyone's sketches turns out differently. By doing this task, I really observe letters one-by-one which I never done before. 

Findings

I discovered the significance of balance in design, realizing that even minor adjustments could significantly impact the overall legibility and aesthetic appeal. Not only we need our creativity, but we also need skills in this task. If there are a letter which is different from others, it really matters. 

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FURTHER READINGS

fig 7.1 Typographic design : form and communication

I continue reading this book to help me with my task 3.

fig 7.2 Typographic design process (pg.242)

Type and the design process

Remaining open to new discoveries and eclectic combinations was essential to the process. Several letterforms are unconventional, displaying a quirky incompleteness and progressive typographic appearance. The Ludd typeface, as an element of the currency project, bears the identity of the process and influences contributing to its creation. But by also leveraging the history and conventions of typographic design, this project offers the unique challenge of working both with and against established models, patterns, and conformities.

Expanding the system

Do some experiment with the design of numerals grew into planning and creating an entire type family.

Learning through making

The sketching phase was critical because this design its to review and evaluation during each step of the evolution.

fig 7.3 Traditional model of design process (pg.222)

A well-known model of the design process consists of five steps, which are explained below. Traditionally, these steps have been thought to occur in a linear manner, beginning with defining the problem and progressing toward realizing the solution. But rarely if ever, is the process so smooth and predictable. Design formulas certainly can be devised and followed letter by letter, ending in solutions lacking imagination and mental rigor. But perhaps it is more helpful to think of the process as five fields of activity that overlap one another in a multidimensional environment of intellectual discourse. The process is not linear; rather, it is one of interaction and ambiguity where paths appear to meander aimlessly toward durable and innovative solutions. The five steps are Defining, Gathering, Ideating, Synthesizing, and Realizing.

fig 7.4 Type Specimens (pg. 255)

Graphic designers' use of typographic specimens has evolved with digital typography. In the past, designers relied on specimens to choose fonts and sizes for typesetting, referencing them for layout drawing. Limited sizes were available, showcased in specimen sheets. Today, computers offer an infinite range of sizes and styles, accessible through digital type foundry websites. Printed specimens are now used for study and comparison, featuring examples from major historical classifications. While Old style and sans serif font dominate, a vast array of typeface variations exists, including those tailored for digital media.

fig 7.5 Typographic Design (pg.199)

As we are asked to design our own letterforms, I see lots of different style from this section. For example, the typeface combined with flowers, also combined with numbers.

fig 7.6 Unity of form and communication (pg.202)

Selected onomatopoeic terms were explored through three levels of syntactic studies. The first level utilized drawings on a grid to create visual relationships, evolving into complex type compositions expressing the term. Level two introduced an additional word as a linear element, seeking unexpected yet meaningful relationships through alignment, balance, and direction. In the third level, a photograph was added forming a meaningful message.

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QUICK LINK

Task 1 : Exercises

Task 2 : Typographic Exploration and Communication