Typography / Task 3: Type Design & Communication
Start from 24.05.2023
03.06.2023 -20.06.2023 /Week 7- Week 12
Kong Cai Yi / 0363862
Typography
/ Bachelor of Design (Hons) in Creative Media
Task 3A: Type
design and communication
INDEX
1.Lectures: All lectures 1 to 6 completed in Task 1/ Exercise 1 &2
2.Instruction/Task 3A: Type design and communication
3.Feedback
4.Reflections
5.Further reading
LECTURES
Week 7
- Mr.vinod brief us on our new task (task 3A:Type design and communication).
- Then, we proceed to doing our activities, Mr. Vinod gave us an exercises relating to task 3A, which we try using different tools to draw out different lines (horizontal, vertical, diagonal), circle and some letters.
- We should maintain the same angle throughout a style as different angles, pressures, etc.
Fig 1.1 Class practices (16.05.2023-Week 7)
Week 8
Independent learning week
Week 9
- Mr.Vinod asked us to upload writing practices has been chosen last week in FB.
- He demonstrated to us how to digitalise and design letterform in AI.
- We are required to watch lecture video related to task 3A before starting this task.
Week 10
- For this week, Mr.Vinod checked our work progression one-by-one and give some suggestions to improve it.
- We are required to design a front that not rely on what we had designed in writing practices, we must come out with a new design.
- Task we must do before next week: Complete and refine all letters (digitize) in Ai (Adobe Illustrator). Copy + paste your artwork into FontLab 7. Letters to be completed: a e t k g r i y m p n / A E T K G R I Y M P N and punctuation: , . ! #
Week 11
- Mr.Vinod asked us to upload original lettering and finalised refined letterforms in FB.
- We are required to continue doing this task on the next step- creating a poster by using the word (a e t k g r i y m p n) to make own sentences.
Week 12
- Mr.Vinod asked us to upload our typeface poster design in FB.
- We have been given a deadline of task 3 submission and E-Portfolio.
- He brief us on what we are required in E-portfolio from refer some work that are done by senior.
Deadline
Task 3 Submission Deadline 26 June, 11:59PM (Tue AM & PM)
Task 3 Submission Deadline 29 June, 11:59PM (Fri)
Task 3 Submission Deadline 29 June, 11:59PM (Fri)
INSTRUCTIONS
Task 3: Type design and communication
1.Type design research
The first thing I did before working on my sketches was looking at various fonts for inspiration. I did not have a specific idea in mind regarding what I wanted to create, so I looked at different styles.
Fig 1.2 Typography anatomy
Fig 1.3 Font deconstruction
Fig 1.4 Fontshare-Serif classic
Fig 1.5 Inspiration ideas
2. Writing exercise exploration
Instructions:
1. Writing diagonal, horizontal, vertical and circular lines for all 5 tools in 5 different ways for each tool
2. Writing AOTMX for all 5 tools in 5 different ways for each tool
3. Select 1 option from the 5 different options from each tool and write "a e t k g r i y m p n" in the selected style. Choose either UPPERCASE or lowercase to write in.
Fig 1.6 Class practices (16.05.2023-Week 7)
Fig 1.7 Writing exercise (23.05.2023-Week 8)
Fig 1.8 Second Version practices(26.05.2023- Week 8)
Fig 1.9 Selected letter(26.05.2023- Week 8)
3. Sketches
After doing research, I came up with the following four sketches using different tools on procreate:
Fig 1.10 Sketches (29.05.2023-Week 9)
Fig 1.11 Drag line (30.5.2023 - Week 9)
Before digitising my sketch, I decided to deconstruct Bodoni's letters 'K' and 'A' as I thought Futura was most similar to my sketch in terms of the contrast in stroke widths.
Fig 1.12 Deconstructed "K" -Futura Standard reference (30.5.2023 - Week 9)
Fig 1.13 Digitisation of letterforms using basic shapes and pencil tool (30.5.2023 - Week 9)
Fig 1.14 First attempt progression (4.6.2023 - Week 10)
Fig 1.15 Label all the line in points (4.6.2023 - Week 10)
Fig 1.16 Finish first attempt (6.6.2023 - Week 10)
Fig 1.17 Add punctuation (11.6.2023 - Week 10)
Fig 1.18 Typeface outcome-Outline (11.6.2023 - Week 10)
Fig 1.19 Typeface outcome (11.6.2023 - Week 10)
Second attempt
Fig 1.20 Second attempt progression (16.6.2023 - Week 11)
Fig 1.21 Second attempt progression (16.6.2023 - Week 11)
Fig 1.22 Second attempt progression (16.6.2023 - Week 11)
Fig 1.23 Typeface outcome-Outline (16.6.2023 - Week 11)
Fig 1.24 Typeface outcome (16.6.2023 - Week 11)
FontLab
After finalising the design of my typeface on Illustrator, I began the process of developing and exporting my font using FontLab.
After finalising the design of my typeface on Illustrator, I began the process of developing and exporting my font using FontLab.
Fig 1.26 Front lab process (16.6.2023 - Week 11)
Fig 1.27 Front lab process (16.6.2023 - Week 11)
Fig 1.28 Testing the Outcome (16.6.2023 - Week 11)
Poster
After exporting my font, which I decided to name 'Noble regular', and installing it on my laptop, I created a poster as instructed.
Fig 1.29 Process of poster (16.6.2023 - Week 11)
Fig 1.30 Final poster layout in black&White (20.6.2023 - Week 12)
FINAL Task 3: Type Design & Communication
Fig 1.31 FontLab Screen grab (20.6.2023 - Week 12)
Due to some technical problem, I can't export the typeface construction art in 300dpi, so I reduce it to 150dpi
Fig 1.32 Final Typeface"Noble Regular"(JPEG) (20.6.2023 - Week 12)
Fig 1.33 Final Poster (JPEG) (20.6.2023 - Week 12)
Fig 1.34 Final Typeface"Noble Regular" (PDF) (20.6.2023 - Week 12)
Fig 1.35 Final Poster (PDF) (20.6.2023 - Week 12)
FEEDBACK
Week 8
General Feedback: We just need to ‘write’ the letters not design the letters.
Specific Feedback: Mr.Vinod said the third one does look interesting. I will need to now practice writing in that style and later identify the best letters you can use for digitisation (when instructed).
Week 9
General Feedback: Choose the best letters written in each row and digitalise them.
Specific Feedback: Take individual pictures for each chosen letter instead of taking whole picture from the writing practice AI. Draw the base line of each letter by using pencil tool, brush, shape or pen tool.
Week 10
General Feedback: We need to refine the digitalise work we have done last week, try to start over again in totally different design, don't stuck in the old design we have done before.
Specific Feedback: It is too thin for my design, too hard to saw what is the difference when zoom out. I need to control the stroke points to modified my work.
Week 11
General Feedback: Mr. Vinod suggest me to use the first design instead of the work of second attempting.
Specific Feedback: Use shape to appear all the triangle's top angle.
Week 12
General Feedback: The font name and our name can be part of composition can link to our design.
Specific Feedback: Good job for the typeface design, suggest to complete all of the letter in the semester break and send it to Mr.Vinod.
REFLECTIONS
Experience
I feel a bit confused when starting my writing practice, worrying that what I write may not be easily digitized in the end or that it will be challenging to incorporate design elements. Initially, my digitalization attempts solely focused on using AI to design fonts, without any connection to my initial writing practices. I wasn't satisfied with my first and second tries, and I've been constantly searching for a design concept that I like and desire. It took a lot of research before I finally reached my final piece, I'm finally satisfy with it.
Observations
The entire task made me realise that every beautiful font is amazing designed and requires numerous modifications and adjustments to ensure usability and aesthetic enhancement. I believe that there is a playful aspect to letters as well, such as being able to deconstruct them and design each unique part, allowing designers to have a clearer understanding of the overall structure of the typeface.
Findings
This task has enhanced my patience. When each part of every letter needs to be designed, it can feel like a substantial amount of work. However, as I progressed, I discovered that I was growing more and more fond of designing my own typeface. It has also made me consider designing all the letters.
FURTHER READINGS
Vignelli Canon on design
At the request of the publisher of this book, he started to look in to the meaning of such a publication and recognised that it could become a useful instrument for a better understanding of typography in Graphic Design. This little book reveals our guidelines - those set by ourselves
for ourselves.
The basic one
There are times when a specific type design may be appropriate, mostly for a logo or a short promotional text, particularly in very ephemeral or promotional contexts. These are not our typical areas of involvement but whenever a brilliant solution is found I appreciate both the intent and the results.
I strongly believe that design should never be boring, but I don’t think it should be a form
of entertainment. "Good design is never boring, only bad design is."
I strongly believe that design should never be boring, but I don’t think it should be a form
of entertainment. "Good design is never boring, only bad design is."
Fig 2.1 Sample of typefaces
Fig 2.2 Sample of typefaces in magazine
Type Size Relationship
We have some basic rules for typesetting. Choose the proper size of type in relation to the width of the column:
A) 8 on 9, 9 on 10, 10 on 11 pt for columns up to 70 mm.
B) 12 on 13, 14 on 16 for columns up to 140 mm.
C) 16 on 18, 18 on 20, for larger columns.
Fig 2.3 Different size of heading
Contrasting Type Sizes
One of the most exciting elements of typography for me is the contrast of scale on a printed page.
White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch.
Fig 2.4 Type size contrast
Texture
Light is the master of form and texture. It is by mastering light that we can achieve the expression of any artifact. The basic qualities of reflection or absorption of light are the elements to play with
in designing any kind of object. A glass will reveal its color when light passes through it, or will be trapped inside of it if the surface has been etched, engraved, or treated with some texture.
Fig 2.5 texture
Color
Most of the time we use color as a Signifier, or as an Identifier. Generally speaking we do not use color in a pictorial manner. Therefore, we tend to prefer a primary palette of Red, Blue, and Yellow. This may seem restrictive. This doesn’t mean that we do not like colors or that we are not sensitive to them.
Fig 2.6 Typeface with color
Any kind of publication has different layout requirements. However, it is inevitable that the layouts reflect the interpretation of the designer.
For square pictures a square grid may be better than a rectangular one, well suited for rectangular images. Or, if the publication has a consistent variety of the two formats, one could design a double grid accommodating both situations.
SequenceIf sifting the images is the first task in the process of publication, the sequence of layouts is definitively the next one. A publication, whether a magazine, a book, a brochure, or even a tabloid is a cinematic
object where turning of the pages is an integral part of the reading experience.
For square pictures a square grid may be better than a rectangular one, well suited for rectangular images. Or, if the publication has a consistent variety of the two formats, one could design a double grid accommodating both situations.
Fig 2.7 Example of layout
object where turning of the pages is an integral part of the reading experience.
Fig 2.8 Example of sequence
Binding
A) Cover If the cover is going to be laminated with paper you must recommend a calendered cardboard so that the surface will be smooth. If the cover is going to be laminated with cloth or leather a regular chipboard could be sufficient.
B) Spine The spine could be round or square. We prefer the square because it gives the book a sharper look.
C) Headband This is the finish between the spine and the book. It exist in many variations and we like the plain white most.
D) Endpapers This is the part that connects the book to its binding and it is usually made with a stronger paper than the one of the book.
It could be printed in a solid color or have a pattern or an illustration. In the past very fancy endpapers were used for this function.
E) Sandwich It consists of a panel of chipboard, or any other material, on the front and one at the end of the book glued to the endpapers. The spine is made of cloth, generally white, with the title hot-stamped on it.
B) Spine The spine could be round or square. We prefer the square because it gives the book a sharper look.
C) Headband This is the finish between the spine and the book. It exist in many variations and we like the plain white most.
D) Endpapers This is the part that connects the book to its binding and it is usually made with a stronger paper than the one of the book.
It could be printed in a solid color or have a pattern or an illustration. In the past very fancy endpapers were used for this function.
E) Sandwich It consists of a panel of chipboard, or any other material, on the front and one at the end of the book glued to the endpapers. The spine is made of cloth, generally white, with the title hot-stamped on it.
Fig 2.9 Binding
Identity and Diversity
The notion of identity and diversity is a recurrent theme in both two and three dimensional design. In a Corporate Identity Program enough diversity must be provided to avoid sameness and to increase attention.
Fig 2.10 Identity and Diversity
White Space
White space, non only separates the different parts of the message but helps to position the message in the context of the page. Tight margins establish a tension between text, images and the edges of the page. Wider margins deflate the tension and bring about a certain level of serenity to the page.
Fig 2.11 White space example
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