Typography - Task 3: Type Design & Communication
6/11/2023 - 13/11/2023 (Week 7 - Week 9)
GU QIANKUAN/ 0369385
Typography / Bachelor of Design (Hons) in Creative Media / Taylor's
University
Task 3: Type Design & Communication
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Task 3
4. Feedback
5. Reflections
6. Further Reading
1. LECTURE
Week 7:
Mr Vinod showed us what to look forward to for the new
project. We were then told to use three different types of
pens to create a typeface and were provided
examples.
Week 9:
We were asked to create our own fonts and glyphs for our
third project and Mr Vinod showed us how to digitise our
work on Illustrator. We were given the option to continue
working with upper or lower case letters.
|
| 1.0 |
Deconstructing serves the following purposes:Gain insights into the construction of letters through
shapes.Analyze intricate details and subtle variations in
thickness caused by optical or technical factors.
Explore the appreciation of typography and understand
the anatomical parts (features).
|
| 1.1 |
1. Unite the shapes: Combine the shapes.2. Direct
Selection Tool: Minus the unnecessary anchor
points.
3. Direct Selection Tool: Rounded some anchors/ corners
of the shapes (around 20 pt / 60 pt).
- Can develop all the different parts of the letter
form.
- After combining the shapes, you can do little nuanced
designs for the letter form.
- Take a little bit of exploration once you develop the
basic structure; you can try different
combinations.
1.2 'Typo Task 3A Typeface Construction (Shapes)'.
2.INSTRUCTION
Task 3: Type Design & Communication (30% - Individual)
Timeframe: Week 8 - Week 9
Deadline: Week 10
Description:
You will be tasked to design a limited number of western
alphabets. To begin, choose an existing font design that
adheres to the direction that you would like to head in.
Study the font carefully by analysing its anatomical parts.
Start with rough sketches, explore a variety of options and
upon approval begin digitization of the drawings—software
for digitization Adobe Illustrator and later FontLab.
Artworks shall be printed out for critique sessions followed
by refinements. If time permits we shall generate the font
for actual use. Watch the video before
starting.
You will endeavour to create a typeface that has the
hallmarks of a good typeface; subtlety or character,
presence, legibility and readability. Below are the letters
you will design: a e t k g r i y m p n ! # , . Upon
completion of the font, you will create a basic A4 size
poster displaying your font (further instructions in class).
Watch these two videos: here and here.
Submission:
1. Eportfolio: All gathered information
(failures, successes, epiphanies, sketches, visual
research, printouts, websites, images, charts, etc.)
must be documented logically and chronologically in the
eportfolio for the duration of the task in one
post.
2. Eportfolio: All
images/sketches/diagrams/scans must be
captured/photographed/scanned well, with good even
natural light, without shadows — use of tube/bulb/flash
light is not allowed. All images/sketches/diagrams/scans
must be labelled (fig 1, 2, etc.), described and dated.
Final submission must be indicated clearly
(distinguishable from process work) and uploaded as PDF
and JPEG & .TTF (TrueType Font) or as instructed in
class.
3. (Only if instructed) Tasks to be
documented in a printed A4 enclosed in a Clear Sheet,
logically and chronologically. The works must be
labelled and dated – use pencil and write neatly.
Learning Goals:
1. To develop student’s ability to
construct a readable and legible font.
2. To develop student’s ability to design a font
with consistent characteristics premised on
research and analysis.
1.2 'Typo Task 3A Typeface Construction (Shapes)'.
3.TASK 3: TYPE DESIGN
1.Mr Vinod suggested that we start by designing our own fonts with a
pen.
2.I tried to draw many, many fonts (week 8)
|
| 1,3 |
|
| 1.4 |
|
| 1.5 |
|
| 1.6 |
3.With Mr vinod's guidance I'm going to choose this to start making
fonts,This is my second attempt.
|
| 1.7 |
week 9
So I chose the first line of the font and started copying it with adobe
illustractor under the guidance of Mr. Vinod
|
| 1.8 |
|
| 1.9 |
|
| 2.0 |
This is the font reference I found in googlefont, I need like a
reference, standard and to its font, all have to be reasonable
Week 10
Then I first showed it to Mr. Vinod, who reminded me that the font
must be uniform which was especially emphasized, so I optimized the
outline and width
|
| 2.1 |
|
| 2.2 |
Week 11
I started to use fontlab8 DEMO to make my own text
|
| 2.3 |
Adjust the spacing of each letter to make sure it is the right one and
the right distance
|
| 2.4 |
|
| 2.5 |
Download link for the final font
And final poster Design
Feedback
Week 8
Specific Feedback: Mr Vinod suggested that I choose my favourite of several fonts and make it.
General Feedback : I'm using the wrong pen.
Week 9
Specific Feedback: Find a suitable letter to do next step
General Feedback :Note that resizing must not change the original size
Week 10
Specific Feedback: The font isn't smooth enough. It's too rough.
General Feedback : remove
Week 11
Specific Feedback: I need to keep the size and to set the colum
General Feedback : Keep the shape uniform and start using the fontlab , the distance
should be appropriate
Week 12
Specific Feedback: elatively consistent，“e”The font is a bit slanted and rough
General Feedback :
Experince：My understanding of fonts has grown under vinod's leadership，I slowly learned the secret of it. In this task, I know how to make fonts and how to improve my design better. It's very meaningful!
Observation：We need to make the font in illustrato, make sure the font is
relatively smooth and similar, and then learn how to put it in
fontlab to make the ，Which software do we need to use when we start
making -ai fontlab . And our fonts must be clear, uniform style, and
the same size length or sharp obtuse, and the spacing needs to be
noted, must look comfortable
Finding:Find it very fun to make fonts and we become very patient and you
have fun while you are learning!
Further Reading
typographic design: FORM AND COMMUNICATION
2.7
While perusing this book, I came across a plethora ofvaluable information. The book itself encompasses a wealth of theoretical knowledge and samples, making it an invaluable resource for delving into the study of typography. Throughoutthe book, I encountered numerous intriguing concepts andpracticalexamples, further fueling my interest in typography. Whether in theoretical insights or real-world cases, the book
provided me with a comprehensive understanding of the art of typography. It serves as a valuable asset, enabling me to apply and appreciate the principles of typography more thoroughly.
2.8
2.9
In the subsequent section of the book, I encountered Type Specimens that detailed Additional Old Style fonts, presenting an array of early font samples available for reference. The contemporary fonts and those of the previous generation.Exploring numerous styles, I gained insights into discussion delved into distinctions between the nomencl ofthe evolution of font design, facilitating a deeper understanding of the variations in font styles over time. The wealth of information provided in this section has proven instrumental in broadening my comprehension of typographic nuances.
.png)
|
| 3.0 |
Fig. 6.1 Typography,
Referenced: A Comprehensive Visual Guide to the Language,
History, and Practice of Typography (2012).
Author: Kathryn Henderson, Allan Haley, Ina Saltz, Jason
Tselentis, Richard Poulin, Gerry Leonidas, Tony Seddon
& Tyler Alterman
Publishing year: 2012
|
| 3.1 |
After roughly reading this digital book, I
discovered there are thousands of illustrations
showing modern design applications, historical
advancements from Greek lapidary letters to the
Helvetica film, and definitions of keywords,
concepts, ideas, principles, and procedures related
to type. There are also examples of landmark designs
that transform individual letters into typefaces,
ways that technology has improved and influenced the
type, and type in the future on the internet, in
mobile apps, on tablets, and elsewhere.
In summary, Typography, Referenced is the
definitive resource for typographic knowledge and
inspiration. It covers the entire spectrum of
crucial typographic design and knowledge, from the
invention of moveable type to the current "golden
age" of typography.
.png)
3.2
Upon Mr. Vinod's emphatic recommendation, I have chosen to delve into the book 'Typographic Design: Form and Communication.' I plan to read sections of the book on a weekly basis, aligning with Mr. Vinod's suggestion. This structured approach will allow me to absorb the content thoroughly and apply the principles of typographic design progressively. I am eager to explore the insights and knowledge that the book has to offer and integrate them into my understanding of typographic form and communication.
3.3
I first read this chapter to know how to go
about the design process. This chapter talks
about five steps, taken from a well-known model.
These steps are: defining, gathering, ideating,
synthesising and realising. However, it does
state that this process is not linear, and more
often than not, designers approach the designing
process in a highly individual manner. I often
find myself going back and forth as I design, so
understanding that this is normal, and a part of
the process, has helped me work more
confidently.
评论
发表评论