ADVANCED TYPOGRAPHY TASK 3 - TYPE EXPLORATION AND APPLICATION
24/05/2023 - 05/07/2023 / Week 8 - Week 14
Chew Zhi Ern / 0358995
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 3 / Type Exploration and Application
<iframe src="https://drive.google.com/file/d/1F--uRJrf1dyA24pY0Qp0dWrMHB-RdiiG/preview" width="640" height="480" allow="autoplay"></iframe>
Task 3: Exercises - Type Exploration and Application
WEEK 8
Independent Learning Week. No Class!
WEEK 9
Independent Learning Week. No Class!
WEEK 9
The task for the week is to thoroughly review the assignment 3 briefs as given in the MIB. For our final task project, which is expected to complete a complete typeface (including uppercase, lowercase, numerals, and punctuation). Before the class of the week, we are required to use Google Slides to construct our proposal and outline three to four potential possibilities. Mr. Vinod advised us to choose areas that we are interested in and, most importantly, to recognize that we are given the choice.
To begin, I dedicated my time to conducting thorough research and gathering inspiration on existing fonts, typography trends, and the specific problem or context we may to address. I explored various online resources, typography books, design forums, and social media platforms to gain insights into different design approaches and gather a range of ideas. Therefore, I collected all the inspirations and presented them in google slides.
Figure 1. Task 3 Proposal - PDF Format (28/05/2023)
WEEK 10
Based on my proposal, I have more interest in paper clip fonts and square bold fonts. Consequently, I have chosen to focus on both styles and have commenced sketching letters of the alphabet to explore their potential using Procreate. I experimented with variations, proportions, and spacing while keeping them aesthetic in mind. This phase allowed me to explore different design possibilities and refine my ideas.
 |
| Figure 2. Draft Exploration (02/06/2023) |
WEEK 11
After considering Mr. Vino's suggestion, I have ultimately decided to go with the block bold font as my final choice. Once again, I delved deep into my research, focusing on finding relevant examples for it. This allowed me to gather a comprehensive collection of references for further inspiration and guidance.
 |
| Figure 3. References (10/06/2023) |
To streamline the process and save time, I have opted to directly utilize Adobe Illustrator. As it enables me to delve deeper into the research and exploration of various possibilities based on the sketches I previously created more effectively. I imported my sketches into Illustrator and began the digitization process, translating my hand-drawn designs into scalable vector outlines.
 |
| Figure 4. The process for Digitalization (10/06/2023) |
 |
| Figure 5. Exploration of possible approaches (10/06/2023) |
Drawing from my prior experience, I employed various tools such as guidelines and shapes to assist me in standardizing each typeface, ensuring a consistent and uniform appearance across all of them. Additionally, I conducted experiments with variations in terms of scale and spacing (letter 'A'), allowing me to explore a wider range of possibilities and generate more options for consideration. Throughout this week, I dedicated myself to the task and successfully completed the initial results for capital letters.
 |
| Figure 6. First Attempt (10/06/2023) |
WEEK 12
After receiving feedback from the professor, I identified certain letters that required modification. I promptly addressed these issues and made the necessary adjustments to ensure the overall quality and accuracy of the font. In the subsequent font creation process, I dedicated meticulous attention to the details of every letter, number, and special character in the alphabet. It was crucial to ensure consistency in stroke thickness, border curves, and overall aesthetics throughout the font. This level of precision and consistency played a significant role in achieving a visually appealing and harmonious final product.
 |
| Figure 7. Considering every detail (10/06/2023) |
 |
| Figure 8. Uppercase Refinement (10/06/2023) |
WEEK 13
After successfully completing the uppercase font, I shifted my focus toward the lowercase letters. This involved applying the same level of attention to detail, consistency, and aesthetics as I did with the uppercase letters. By carefully crafting each lowercase letter, I aimed to create a cohesive and visually pleasing font that maintains harmony with the uppercase counterparts.
 |
| Figure 9. The outcome for the Lowercase (12/06/2023) |
Considering the time constraints, I made the decision to prioritize creating the numbers after completing the design of the lowercase letters. Indeed, numbers generally have simpler structures and require less time compared to more intricate symbols. By prioritizing the creation of numbers, I could efficiently allocate my time and resources while maintaining a consistent workflow. This approach allowed me to make efficient progress while ensuring the quality and coherence of the font design.
Here is the outcome of the design of the numbers.
Following the completion of the alphabet, another significant challenge arises during the font creation process: creating punctuation marks. While often overlooked, punctuation marks play a crucial role in conveying meaning and structure within written communication. Designing punctuation requires meticulous attention to detail to ensure consistency in style, size, and spacing throughout the font. This phase demands precision and careful consideration to create punctuation marks that seamlessly integrate with the overall aesthetic and enhance the readability of the font. Despite the challenges, I embraced this phase as an opportunity to showcase my design skills and create symbols that effectively communicate their intended purposes within the font.
 |
| Figure 10. Creation for the numerals (15/06/2023) |
Following the completion of the alphabet, another significant challenge arises during the font creation process: creating punctuation marks. While often overlooked, punctuation marks play a crucial role in conveying meaning and structure within written communication. Designing punctuation requires meticulous attention to detail to ensure consistency in style, size, and spacing throughout the font. This phase demands precision and careful consideration to create punctuation marks that seamlessly integrate with the overall aesthetic and enhance the readability of the font. Despite the challenges, I embraced this phase as an opportunity to showcase my design skills and create symbols that effectively communicate their intended purposes within the font.
 |
| Figure 11. The Initial Complete Font Attempt (26/06/2023) |
I improved by making changes after getting Mr. Vinod's feedback. Through research and analysis of the materials provided by the lecturer, as well as online and social media sources, I successfully curated and created the necessary punctuation marks that should be included in the task. By drawing inspiration from various references and incorporating my knowledge, I ensured that the punctuation marks aligned with the desired style maintained consistency with the rest of the font, and met the requirements specified by Mr. Vinod.
 |
| Figure 12. Feedback is given by the lecturer (28/06/2023) |
 |
| Figure 13. Reference the existing punctuation (29/06/2023) |
 |
| Figure 14. Final Punctuation Outcome (29/06/2023) |
Upon completing the series of fonts, the crucial step of meticulously reviewing each letter, number and punctuation mark to ensure consistency arises. By diligently scrutinizing and making necessary adjustments, I devoted myself to ensuring that every aspect of the font design remained coherent and aligned. I am pleased to present the final version of my font design, which incorporates a comprehensive and harmonious collection of letters, numerals and punctuation marks.
 |
| Figure 15. Font Creation Process (27/06/2023) |
 |
| Figure 16. Final typeface design (27/06/2023) |
After digitizing the font in Illustrator, the next step involves generating the typeface in Fontlab. Following the steps outlined in the lecture, I meticulously followed the required procedures. With great attention to detail, I successfully generated my typeface in Fontlab. Here is the outcome of my efforts:
 |
| Figure 17. Important Dimensions (30/06/2023) |
- Ascender: 758 pt
- Cap Height: 758 pt
- Median Line: 540 pt
- Baseline: 0 pt
- Descender: -232 pt
Copy and Paste to Fontlab and adjusted the kerning:
 |
| Figure 18. Process of Generating Typeface in Fontlab (30/06/2023) |
 |
| Figure 19.1 Final Uppercase (30/06/2023) |
 |
| Figure 19.2 Final Lowercase (30/06/2023) |
 |
| Figure 19.3 Final Numerical (30/06/2023) |
 |
| Figure 19.4 Final Punctuation (30/06/2023) |
Figure 20. Final Type Design (30/06/2023)
WEEK 14
After generating the font, I shifted my attention toward exploring its potential applications and demonstrating its versatility. I engaged in creating mockups to showcase the font in various contexts, such as posters and branding materials. By incorporating Mr. Vinod's examples and conducting extensive research on social media platforms and websites where designers worldwide share their work, I have gained inspiration to apply in my work. Through the presentation of the font in diverse scenarios, my primary objective was to accentuate its aesthetic appeal and showcase its potential to elevate visual designs and facilitate effective communication across multiple platforms.
 |
| Figure 21. Implementation of the Presentation and Application Process (03/07/2023) |
Final Submission
Finally, here are the outcomes.
Presentation:
 |
| Figure 22.1 Final Presentation #1 - JPEG Format (07/07/2023) |
 | |
|
 |
| Figure 22.3 Final Presentation #3 - JPEG Format (07/07/2023) |
 |
| Figure 22.4 Final Presentation #4 - JPEG Format (07/07/2023) |
 |
| Figure 22.5 Final Presentation #5 - JPEG Format (07/07/2023) |
 |
| Figure 22.6 Final Presentation #6 - JPEG Format (07/07/2023) |
 |
| Figure 22.7 Final Presentation #7 - JPEG Format (07/07/2023) |
 |
| Figure 22.8 Final Presentation #8 - JPEG Format (07/07/2023) |
 |
| Figure 22.9 Final Presentation #9 - JPEG Format (07/07/2023) |
 |
| Figure 22.10 Final Presentation #10 - JPEG Format (07/07/2023) |
 |
| Figure 22.11 Final Presentation 11 - JPEG Format (07/07/2023) |
 |
| Figure 22.12 Final Presentation #12 - JPEG Format (07/07/2023) |
 |
| Figure 22.13 Final Presentation #13 - JPEG Format (07/07/2023) |
 |
| Figure 22.14 Final Presentation #14 - JPEG Format (07/07/2023) |
 |
| Figure 22.15 Final Presentation #15 - JPEG Format (07/07/2023) |
 |
| Figure 22.16 Final Presentation #16 - JPEG Format (07/07/2023) |
 |
| Figure 22.17 Final Presentation #17 - JPEG Format (07/07/2023) |
 |
| Figure 22.18 Final Presentation #18 - JPEG Format (07/07/2023) |
 |
| Figure 22.19 Final Presentation #19 - JPEG Format (07/07/2023) |
 |
| Figure 22.20 Final Presentation #20 - JPEG Format (07/07/2023) |
 |
| Figure 22.21 Final Presentation #21 - JPEG Format (07/07/2023) |
Figure 23. Final Presentation - PDF Format (07/07/2023)
Application:
To begin the process, I utilized Adobe Illustrator to meticulously plan and design the desired concept that I aimed to bring to life in the mockup.
 |
| Figure 24.1 Design Diagram #1.1 - JPEG Format (07/07/2023) |
 |
| Figure 24.2 Design Diagram #1.2 - JPEG Format (07/07/2023) |
 |
| Figure 24.3 Design Diagram #2 - JPEG Format (07/07/2023) |
 |
| Figure 24.4 Design Diagram #3.1 - JPEG Format (07/07/2023) |
 |
| Figure 24.5 Design Diagram #3.2 - JPEG Format (07/07/2023) |
 |
| Figure 24.6 Design Diagram #4.1 - JPEG Format (07/07/2023) |
 | |
|
 |
| Figure 24.8 Design Diagram #5 - JPEG Format (07/07/2023) |
Subsequently, I exported the blueprint from Adobe Illustrator and imported it into Adobe Photoshop to enhance the realism of the mockup. By leveraging the capabilities of Photoshop, I aimed to add depth, texture, and other visual elements that would bring the design to life and create a more immersive and captivating sample representation.
Here's some evidence of the making process.
 |
| Figure 25. Implement the Creation Process (07/07/2023) |
 |
| Figure 26. Exporting (07/07/2023) |
And these are the outcomes:
 |
| Figure 27.1 Final Application #1 - JPEG Format (07/07/2023) |
 |
| Figure 27.2 Final Application #2 - JPEG Format (07/07/2023) |
 |
| Figure 27.3 Final Application #3 - JPEG Format (07/07/2023) |
 |
| Figure 27.4 Final Application #4 - JPEG Format (07/07/2023) |
 |
| Figure 27.5 Final Application #5 - JPEG Format (07/07/2023) |
 |
| Figure 27.6 Final Application #6 - JPEG Format (07/07/2023) |
 |
| Figure 27.7 Final Application #7 - JPEG Format (07/07/2023) |
 |
| Figure 27.8 Final Application #8 - JPEG Format (07/07/2023) |
 |
| Figure 27.9 Final Application #9 - JPEG Format (07/07/2023) |
 |
| Figure 27.10 Final Application #10 - JPEG Format (07/07/2023) |
 |
| Figure 27.11 Final Application #11 - JPEG Format (07/07/2023) |
 |
| Figure 27.12 Final Application #12 - JPEG Format (07/07/2023) |
 |
| Figure 27.13 Final Application #13 - JPEG Format (07/07/2023) |
 |
| Figure 27.14 Final Application #14 - JPEG Format (07/07/2023) |
 |
| Figure 27.15 Final Application #15 - JPEG Format (07/07/2023) |
 |
| Figure 27.16 Final Application #16 - JPEG Format (07/07/2023) |
Figure 28. Final Application - PDF Format (07/07/2023)
 | |
|
FEEDBACK
Week 10
General Feedback:
Instead of working on both at once, focus on either uppercase or lowercase letters first because they require different mental approaches. The folder that Mr. Vinod posted in the Facebook group contains some fantastic typeface designs which we can look into it. Do more research on earlier works done by others to know how those types were made and attempt to incorporate them into our own work. As are constructing, we were highly suggested to draw a box and set it behind the letters as a guide to making sure all of the letters are the same width and height. We must have a very clear understanding of why we were creating the font we were working on and start to consider where we were planning to apply this typeface.
Specific Feedback:
When doing this work, it is important to consider not just how the typefaces appear but also what they are used for, must therefore have a goal or objective in mind for the issue that hope to tackle. The problem can be anything, determine the problem and also the usage. Mr.Vinod thinks that the 'Paperclips' idea font doesn't look good which I preferred to work on it the most. It is not more memorable than the other two. Typefaces inspired by "circle" have limited capabilities. The last idea is easy to do but also attractive.
Week 11
General Feedback: Revised the Task 2 submission items and presentation sequence according to the instruction that has posted by Mr. Vinod in the Facebook group. Be mindful of time management. In addition to Fontlab, we can also use Fontforge which is free. The letter 'X' is not as easy as imagined, it is not just a combination of two straight lines. Do more research and refer to other works.
Specific Feedback: The letter form is rudimentary but interesting. The letter 'J', 'X' and 'Y' should study more and reworked on it.
Week 12
Week 12
General Feedback: Examine the presentation in the files that Mr. Vinod has provided to study how the designers have used the typeface. It's acceptable to use another typeface when creating collaterals, but make sure that the typeface dominates to the layout.
Specific Feedback: Make sure the spacing between each letter is consistent.
Week 13
General Feedback: No class. No Feedback.
Specific Feedback: Some of the symbols go below the baseline (slightly). Compare against existing fonts to understand whether the proportions are right.
Week 14
General Feedback: Guidelines on the submission of the Final Task have been stated in the Facebook group. Be more creative when presenting the typeface in the presentation.
Specific Feedback: Focus on the presentation first, and the idea of the application will emerge naturally.
REFLECTIONS
Experience:
Throughout this assignment, I have actively participated in a range of activities, exercises, and projects that have allowed me to delve into the world of typography and type design. These experiences have been both challenging and rewarding, providing me with a platform to express my creativity and apply the knowledge gained from lectures and personal research. I felt a sense of excitement and enthusiasm as I engaged in the tasks, exploring different design software and experimenting with various typographic elements. The hands-on nature of the exercises and projects has allowed me to truly immerse myself in the process of font creation and problem-solving.
Observations:
During these experiences, I have made internal and external observations that have enriched my understanding of font design and its applications. Internally, I have reflected on my strengths and weaknesses as a designer and typographer. I have recognized my ability to conceptualize ideas and visually communicate messages through typography, while also acknowledging areas where I can further improve, such as font spacing and consistency. In observing other learners, I have been inspired by their innovative approaches and unique perspectives, which have broadened my understanding of typography as a diverse and evolving field.
In terms of the activities themselves, I have observed the significance of effective planning and organization. Clear project guidelines and well-defined objectives have proven crucial in achieving successful outcomes. Additionally, I have noticed that activities with a collaborative element, such as peer feedback sessions, have provided valuable insights and opportunities for growth.
Findings:
Throughout this program, I have gained a wealth of knowledge and insights into the world of typography and type design. I have learned about the history of typography, typographic principles, font anatomy, and the technical aspects of font creation. Furthermore, I have discovered the role of typography in visual communication and the power it holds to evoke emotions, enhance readability, and convey messages effectively. This understanding has equipped me with the necessary skills to create a font that can address a larger problem or contribute to a solution in my area of interest.
To strengthen my weaker areas, such as font spacing and consistency, I intend to invest further time and practice, seeking feedback from mentors and peers to refine my skills. I also aim to deepen my knowledge of typographic trends, contemporary approaches, design publications and emerging technologies to stay at the forefront of the field.
To strengthen my weaker areas, such as font spacing and consistency, I intend to invest further time and practice, seeking feedback from mentors and peers to refine my skills. I also aim to deepen my knowledge of typographic trends, contemporary approaches, design publications and emerging technologies to stay at the forefront of the field.
In conclusion, this task have shaped my journey in typography and type design. Through active participation and reflection, I have deepened my understanding of typography's significance and identified areas for improvement. I am excited to apply my knowledge and skills in the creation of a font.
FURTHER READING
 |
| Screenshot of the Online Article - Typography Design 101: A Guide to Rules and Terms |
The article "Typography Design" on 99designs.com provides a comprehensive and insightful exploration of typography principles, techniques, and best practices. It serves as a valuable resource for designers, offering practical tips, psychological insights, and a deeper understanding of typography's role in effective design communication. By incorporating the knowledge gained from this article into my design practice, I am confident that I can create more impactful and visually appealing designs that engage and resonate with users.
The article begins by emphasizing the significance of typography as a powerful visual tool that can enhance communication and evoke emotional responses. It introduces various typographic elements such as typefaces, fonts, and letterforms, explaining their distinct characteristics and how they can be leveraged to achieve specific design objectives.
The article begins by emphasizing the significance of typography as a powerful visual tool that can enhance communication and evoke emotional responses. It introduces various typographic elements such as typefaces, fonts, and letterforms, explaining their distinct characteristics and how they can be leveraged to achieve specific design objectives.
One of the highlights of the article is its exploration of typography principles, including hierarchy, contrast, alignment, and spacing. The discussion on hierarchy resonated with me, as it highlighted the importance of organizing information effectively to guide the reader's attention and facilitate comprehension. By establishing a clear visual hierarchy through font sizes, weights, and styles, designers can create visually appealing and intuitive layouts.
Furthermore, the article offers practical tips and guidelines for choosing suitable typefaces, combining fonts harmoniously, and ensuring readability across different mediums. It emphasizes the need for legibility, scalability, and compatibility with various devices, underscoring the role of responsive design in the contemporary digital landscape.
The author also sheds light on the psychological aspects of typography, emphasizing the influence of different typefaces on perception, mood, and brand identity. This insight into the psychological impact of typography underscores the importance of selecting fonts that align with the desired message and brand personality.
 |
| Screenshot of the Webpage - Getting Started with Typeface Design |
The article "Getting Started with Typeface Design" by Jonathan Hoefler is a comprehensive and insightful resource that explores the art and craft of typeface design. I found this article to be both educational and inspiring. This article serves as an excellent foundation, inspiring designers to delve deeper into the fascinating world of typeface design and create fonts that leave a lasting impact on visual communication.
The article begins by acknowledging the allure of typeface design and its ability to shape the visual landscape. It emphasizes that type design is a meticulous craft that requires a deep understanding of letterforms, history, and design principles. The author's passion for the subject shines through, instilling a sense of excitement and curiosity in the reader.
One of the strengths of the article is its step-by-step approach to typeface design. It outlines the essential stages of the design process, including research, sketching, digitization, and refinement. The emphasis on research resonated with me, as it highlights the importance of understanding historical and cultural contexts, as well as studying existing typefaces to inform one's own design choices.
The author provides valuable insights into the technical aspects of type design, such as understanding letterform anatomy, proportions, and spacing. This attention to detail is crucial for creating visually harmonious and legible typefaces. The article also touches upon the importance of balancing tradition and innovation, urging designers to push boundaries while maintaining readability and functionality.
Furthermore, the article emphasizes the iterative nature of typeface design and the significance of feedback and critique. It encourages collaboration and learning from more experienced designers to refine one's skills and push the boundaries of creativity.
Comments
Post a Comment