31.05.2023-05.07.2023 / Week 9-Week 14
Kor Qian Qian / 0359496
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Final Task-Type Exploration and Application
LECTURES
All lecture note: https://korqianqiandesign.blogspot.com/2023/04/advanced-typography.html
INSTRUCTIONS
Type Exploration
For task 3, we were asked to choose to create a typeface:
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Create a font that is intended to solve a larger problem or meant to be
part of a solution in the area of your interest.
- Explore the use of an existing letterform in an area of interest.
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Experiment. For your idea to qualify as an experiment, it must be novel
and unique.
Proposal
Fig 1.1 Proposal
Before we start designing, we were asked to do research on what we are going
to design or explore and write a proposal. I searched for some areas that I was interested in, for example Graffiti font that we usually saw on the street, and select my favourite cartoon character, Malaysia style marble cake...
Chosen idea:
I found a poster with a creative font that looks like my favourite
cartoon character, so I decided to continue exploring it (idea #3). I will
not follow it exactly but something similar.
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| Fig 2.1 Chosen font |
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| Fig 2.2 My fav character
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References:
Fig 2.3 References
I search for some typefaces that look heavy and bold, the typeface up and down ratio is about 6:4 or 4:6. It will look silly.
Digitalisation & Exploration
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Fig 3.1 First attempt
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I try to design a few letters and get some feedback from sir before continue the other letters. Fortunately, my first attempt looks good and just make some small adjustment and keep going.
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Fig 3.2 Elements used
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I create some shapes and create my typeface with those shapes, for example the letter A shown in Fig.
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Fig 3.3 Different rounds used
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Different letters have different sizes of the round.
Some of the letters are not legible, such as letters C, G and D.
Tips:
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| Fig 3.4 Left-before, Right-after
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Visually, there is a continuous downward extension effect, so at each very
sharp angle, a very small portion of the angle needs to be cut off in order
for that part to appear to come to a stop in its original position.
Second Attempt:
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| Fig 3.5 Exploration |
I have tried different designs for each letter, including the redesign of
those letters that are not legible. Some of the letters are still not working.
Sir suggested I create a grid with circle and diagonal lines.
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| Fig 3.6 grid |
I created an 18x18 grid with a circle and diagonal lines. I used 9x18 boxes in
most of the uppercase letters. I used a rectangle tool and a circle to create
the letter. The round corner used different size circles to exclude with the pathfinder tool to get different point-size round.
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Fig 3.7 Uppercase attempt
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Fig 3.8 Lowercase attempt
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After using a grid, it is easier to design a letter
consistency.
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| Fig 3.9 Letter F |
Letter F: I decided to create the F following the letter E, and it looks better
than the previous design(rightmost).
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Fig 3.10 Number Attempt
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The size of the number is also the same as the uppercase letter (18x18 grids).
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Fig 3.11 Punctuation Attempt
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Fig 3.12 Final typeface design
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Fontlab
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| Fig 4.1 Font info |
I named the font Joyful (I want to name it Ferb--the cartoon character
name but my FontLab license is expired). The typeface, with its bold and
cute appearance, exudes a sense of happiness and cheerfulness, which aligns
with the concept of joy.
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| Fig 4.2 Font dimension |
Measurement of the font:
- X-Height: 500pt
- Mediant line: 711pt
- Descender line: 198pt
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Fig 4.3 Process on Fontlab |
Application
Font Presentation
Since my text is not suitable for use in articles, I choose to present it in several different ways instead of a single style.
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| Fig 6.1 Letters presentation |
In Fig 6.1, I'm trying to present it like stickers.
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Fig 6.4 Number and punctuation presentation
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| Fig 6.5 Type presentation |
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Fig 6.6 Uppercase presentation |
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| Fig 6.7 Reproduce |
In fig 6.7 is to reproduce the image I originally referenced.
Mockup
The typeface I have designed is particularly well-suited for artistic
purposes such as poster titles, background designs, branding, and more. To
showcase its versatility and potential applications, I have created several
mockups. These mockups demonstrate how the font can enhance the visual
impact of various art-related projects.
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| Fig 7.1 Book cover page |
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| Fig 7.2 Poster |
In fig 7.2, the "rav*" and the text on the can is the typeface I designed.
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| Fig 7.3 Poster |
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| Fig 7.4 Candle |
I would like to show that the typeface is more suitable in a 'big character'.
Final Type Exploration & Application:
Type Exploration:
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| Fig 8.1 Uppercase |
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| Fig 8.2 Lowercase |
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| Fig 8.3 Punctuation |
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| Fig 8.4 Numbers |
Font Presentation:
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| Fig 9.1 Lowercase |
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| Fig 9.2 Uppercase |
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| Fig 9.3 Test |
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Fig 9.4 Numbers and Punctuation
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| Fig 9.5 Uppercase |
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| Fig 9.6 Test |
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| Fig 9.7 Test |
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| Fig 9.8 Test |
Mockups:
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| Fig 10.1 Book Mockup |
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Fig 10.2 Poster Mockup
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Fig 10.3 Candle Mockup
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Fig 10.4 Poster Mockup |
Feedback
Week 9
General feedback: It must have a purpose for choosing the topic/type.
Do research as more as possible before deciding on the design style.
Week 10
General feedback: Interesting. Letters F, R, E, and B are doing well.
Consistent. Try a few more variations.
Specific feedback: Cut
off every sharp point a very little bit to blunt it. Good use on the
different rounds.
Week 11
General feedback: Not really consistent (Some letters look consistent
on the sharpness and squareness, but some are only sharpness, exp: F, V.)
Specific feedback:
Can use a grid structure to help create better control on the letterform. It
can have a circle, or diagonal line to make more detailed curves or strokes.
Problematic letter: D, I, V, W, X, O, P.
Week 14
Specific feedback: Refer to the link provided on Facebook. Don't only
type the letters on white paper, very boring. Can present in every way, and
can add some elements I did before (the stickers).
Reflection
Finding
Initially, I thought the given time for creating a new typeface was excessive,
but as the deadline approached, I began to feel stressed and nervous because I
had not completed the task. This highlighted the importance of time management
and the need to allocate sufficient time for each stage of the design process.
Experience
Although we had prior experience in designing typefaces in the previous
semester, this was the first time we were tasked with creating a complete set
of letters, numbers, and punctuation marks. This experience provided an
opportunity to expand our skills and delve deeper into the intricacies of type
design. It challenged us to maintain consistency and coherence across all
characters while exploring new design possibilities.
Observations
I found designing the uppercase letters to be an enjoyable process, albeit
time-consuming. However, I gained more confidence and efficiency when
designing the lowercase letters, completing them in a shorter timeframe.
Designing the punctuation marks proved to be more challenging due to their
irregular shapes, which resulted in feelings of exhaustion. Although I managed
to complete my designs on time, I wasn't entirely satisfied with the outcome.
Through this experience, I realized the importance of finding the right
methods and techniques to simplify and streamline the design process. For
instance, I discovered that using grids helped me work more efficiently and
consistently, resulting in a more standardized and cohesive typeface design.
Furthermore, I recognized that creating typefaces requires continuous practice
and a deep understanding of the craft. To further improve in this area, I
intend to engage in more practice sessions and engage in extensive reading and
research to enhance my knowledge and skills in typeface design.
Further Reading
I did some reading with the book <Typography Referenced> (Halley et. al, 2012).
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| Fig 11 Typography Referenced |
I would like to read more about Type Design and Development By Gerry Leonidas.
Growth of the Type Market
- The type market is growing, with an increasing number of digital type foundries and designers wanting to publish their own typefaces.
Evolving Typeface Trends
- Text typefaces are expanding to include a wide range of weights and widths, catering to detailed typography, while display typefaces are experimenting with typographic textures and alternate glyphs.
- Corporate branding now demands typefaces that can be used across different markets and environments, reflecting the internationalization of publications and brands.
Influence of Digital Platforms
- The rise of smart devices like smartphones, eBook readers, and tablets has brought typefaces to the forefront of the design process, as they play a crucial role in distinguishing one publication from another.
- Web fonts have matured and enable typefaces for browser-based texts, reflecting a shift towards personal, local, and portable publications and brands.
Healthy Type Market and Refined Skills
- The type market is healthy, creating a demand for new typefaces and professionals in the field, but the skills required to make an impact are becoming more refined and extensive.
- Typeface design is influenced by a designer's desire for identity and originality, the demands of the moment, and the conventions shared by the intended audience.
- A good understanding of type history is essential for designers, as it provides inspiration and prevents reinventing past designs.
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