Typography / Task 3A

6/10/2021 - 20/10/2021 / Week 7 - Week 9
Nurul Adlina Rizal / 0345429 / Bachelor of Design in Creative Media
Typography
Task 3A: Type Design & Communication

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LECTURES

Lectures in Task 1 and Task 2.

Week 7: Task 3A Typeface Construction

1. References

- of typefaces you like!

2. Deconstruct

- existing typefaces (from the 10 given typefaces)

3. Sketches

Fig 1.0: Example Sketches by Mr Vinod (26/10/2021)

Use OHTA!

1. Deconstruct similar fonts to your sketches/ideas

- research

Fig 1.1: Example of deconstruction of a letter (26/10/2021)

Canvas = 1000 pt x 1000 pt 

2. Begin !

- 500 pt for the x-height

- make guides for the descender, ascender, cap height and x-height

- use shape tool/pen tool to create

- make duplicates so you don't lose the original individual shapes

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INSTRUCTIONS

Task 3A: Type Design & Communication

Visual Research

I looked at different fonts to get inspired and ones that are closely related to the style of typefaces that I want to make. 

Source: https://www.youworkforthem.com/font/T13905/lore

Fig 1.2: Lore by Type heist (18/10/2021)

Fig 1.3: Lore by Type heist (18/10/2021)

Fig 1.4: Architype Bayer by Herbert Bayer (18/10/2021)

These fonts were my inspiration for both script and sans serif typefaces. I liked Lore's simple looking lines that are almost random but still quite consistent. For Architype Bayer, I was very fond of the design of the letter 'y' in its type family. I wanted to use that type of y and have the minimalistic sans serif feel in the typeface I'll make. 

Deconstruction

Fig 1.5: Deconstruction of Futura Std (12/10/2021)

Fig 1.6: Deconstruction of Serifa Std (12/10/2021)

Fig 1.7: Deconstruction of Gill Sans Std (12/10/2021)

Since I wanted to create a sans serif typeface, I looked at three sans serif typefaces from the 10 given typefaces which are Futura Std, Serifa Std and Gill Sans Std. They each have interesting features such as the sizes of their o counters, the thickness of the stem and the bowl that creates contrast as well as the serifs. 

Idea Exploration

Sketches

Fig 1.8: Sketches (18/10/2021)

In Fig 1.8, I tried different styles and typefaces for sans serif fonts since that is what I mainly wanted to do. I love handwritten scripts as well and want to try out more doodle style typefaces. 

Digitization

Typeface #1

Fig 1.9: Typeface #1 with Guides (20/10/2021)

I made sure to follow the general x-height, descender and ascender as well as cap height. 

Fig 2.0: Typefafce #1 (20/10/2021)

My first digitized sketch is of the handwritten script.

Typeface #2

Fig 2.1: Variations of Typeface #2 (20/10/2021)

Fig 2.2: Typeface #2 with Guides (20/10/2021)

I had variations of Typeface #2 with and without serifs. I like it with serifs better.

Fig 2.3: Typeface #2 (20/10/2021)

This typeface is more inspired from sans serifs and how they use different thickness in their design to add contrast and variety. They are subtle differences but make the typefaces quite unique. I wanted to try that for my type design as well. 

Chosen Typeface

Fig 2.4: Typeface #1 Final (20/10/2021)

I chose typeface #1. Changes were made based on Mr Vinod's feedback on Week 9. I struggled a bit with the e counter when trying to make it bigger. I used the width tool to help solve the problem. 

FontLab

Fig 2.5: Typeface #1 Final (26/10/2021)

I had used FontLab 5 to kern and make my designs become an actual font/type family. I titled this type family as 'Playdough'. 

Final

Font Download: 

https://drive.google.com/file/d/1nfrCVj9OzxuevzRuozSnr4RLwCiRTu6V/view

Fig 2.6: Task 3 Final Typeface in JPEG (26/10/2021)

Playdough by Nurul Adlina Rizal, 2021

Fig 2.7: Task 3 Final Poster in JPEG (26/10/2021)

 

Fig 2.8: Task 3 Final Typeface in PDF(26/10/2021)

Fig 2.9: Task 3 Final Poster in PDF (26/10/2021)

RATIONALE

For the final, with the chosen typeface I created a poster that fit the mood and feeling of it. Mr Vinod mentioned that this was a typeface that you would see in children storybooks. So I used the sentence "I am, a pet dog. I obey!". It is inspired from children storybook covers. There is also a bone graphic to show the childish playful nature of the type family that I title as 'Playdough'.

The thought put into the creation of the font was that I wanted to create a handwritten script that represents my bubbly personality and my interest in adorable things. From deconstructing existing letterforms, I used the nature of the counter that are usually not an accurate circle. It is more of an oval shape. I also learned that the tittle (the dot in an i) are usually a bit bigger than the width of the stem so I had also utilized that in my design. Other than that, it a pretty simple typeface that the world could use for cute children storybooks!

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FEEDBACKS

Week 8 (Independent Learning Week)

Specific Feedback: Explore different style of typefaces. Start with the letter 'O' as a base design to other letterforms. 

General Feedback: Try using strokes and take inspiration from existing typefaces. 

Week 9

Specific Feedback: Relatively simple type design that has a need for it such as for children books. A better version of Comic Sans. The tail of 'e' could be shorter and the eye of it could be bigger. Taper the exclamation point and curve the stem of the 't'. 

General Feedback: The full-stop, the dot on the 'i' and ! should be bigger than the width of the stem. Keep a consistent style. 

Week 10

Specific Feedback: A consistent font design albeit on the simple side. Still, it is strong and does have visual impact. If you create a regular sized version you might be able to challenge Comic Sans! The bone was unnecessary. The poster composition can be better. 

General Feedback: -

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REFLECTIONS

Experience

Interesting experience filled with knowledge. I experienced the difficult task of designing type. It makes me appreciate the hard work put in the typefaces we use today. It took me a lot of time to brainstorm and many more hours to digitize them to create a well researched design. Mr Vinod's feedback helped me understand the style of typefaces that I am heading towards. From then on, I knew what I had to research. Later in Week 9, I had much feedback from Mr Vinod about the technicalities and small details to my typeface. 

Overall, it was a joyful experience and I learned many new things about type design and type appreciation. Sadly we did not get to see Mr Charles' type design (an inside joke in class).

Observation

Creating fonts is no simple task. I observed that I struggled plenty on deciding the direction of typefaces that I wanted to do. My thought process and ideas came sporadically but thankfully, I managed. There was also an instance where I was afraid to break from an idea that I had, or try other types of design when I was comfortable with one. That definitely limit me a bit in terms of exploration and creativity. 

In the end, however, I did manage to look at two completely different styles to compare and work on. 

Findings

I learned about the different things that make a font unique and how the tiny details make them differ from each other. I feel that more time spent on working on something can increase the quality of your work greatly. There is also the aspect of working smart and not being too held up on one idea for too long. Exploration is the key ! 

Other than that, I found that I have a specific style that I gravitate towards and it is good to take advantage of what you are good at as well. 

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FURTHER READING

Lettering & Type: Creating Letters & Designing Typefaces

Fig 3.0: Cover of Willen, B.'s book (26/10/2021)

Reference:

Willen, B. (2009). Lettering & Type: Creating Letters Designing Typefaces. Princeton Architectural Press, New York

CREATING LETTERS 

(Pg. 46)

Thinking before Drawing

- before everything there is an idea or concept

- a designer understands the content that the letters will communicate and the context in which they will appear

- letters are never neutral no matter how "neutral" they may look

- each style and approach has its own unique baggage

- designers consciously choose styles whose contextual relationships best complement, illuminate, or expand on the content.

Fig 3.1: Different styles of letters (26/10/2021)

- disparate styles of letters add their own color an connotations to text

- each of these three lettering treatments suggest a very different kind of party

DESIGNING TYPEFACES

(Pg.96)

Behind A Face

- type design emphasizes systems, consistency and flexibility

- any typeface's characters must work together equally well, no matter how they are arranged

- good typefaces function on the strength of their system and how the points relate within the system

- those who know who to use type as well as design it have a greater understanding of a font's design requirement

Character Traits

- type designers do not read the alphabet from A to Z

- they separate and categorize letters according to their individual traits

- a type designer can better refine and standardize the typeface's system by analyzing and grouping characters that share traits

- making the correct decisions and fixing any issues at an early stage of the process are crucial as problems or mistakes are amplifies through the rest of the character set

- combining the letters into words and sequences is a critical test that begins as early in the process as possible

Fig 3.2: Rogues Gallery Custom Lettering (26/10/2021)

- well-made lettering falls apart when the characters are used out of their original context

- type must adapt to infinite groups of words while custom lettering needs to fulfill only the requirements of its particular application