Advanced Typography - Task 3: Type Exploration and Application
Advanced Typography - Task 3: Type Exploration and Application
DEC 01, 2024
10/11/2024 - 15/12/2024 (Week 8 - Week 13)
GU QIANKUAN/ 0369385
Advanced Typography / Bachelor of Design (Hons) in Creative Media /
Taylor's University
Task 3: Type Exploration and Application
TABLE OF CONTENTS
1. Lectures
2. Instructions
3. Task 3: Type Exploration and Application
3.1 Work Progress
3.2 Final Outcome
4. Feedback
5. Reflections
6. Further Reading
1. LECTURE
WEEK 8 (6/10/2023) - LECTURES
All lectures were completed in Task 1: Exercises 1 & 2 - Typographic Systems &
Type & Play
2. INSTRUCTIONS
3. TASK 3: TYPE EXPLORATION & APPLICATION
1. Research, Ideation and Sketches
3.1 WORK PROGRESS
We were instructed to generate three project ideas based on our
interests. My hobbies include entertainment design, animation,
photography and new media.
Explanation of the Chosen Idea
Explanation: The custom typeface aims to
provide a unique visual identity that stands out in the
crowded digital landscape. It combines modern aesthetics
with a touch of futurism, making it suitable for various
digital platforms. The typeface is clean, sleek, and easy
to read, ensuring versatility and adaptability across
different media.
References
Key Attributes:
This custom typeface will enhance the visual appeal of new
media content, providing a cohesive and memorable typographic
identity.
Sketches
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2. Digitisation and Exploration
I found my punctuation size needs further
refinement.
The chosen reference font is Univers LT Std (55 Roman). I tried
to observe the characteristics of letters: H, o, g, and b
from the family font. From my observation, there are
no ascenders of the letter b.
References
Design Elements:
The letters are designed within a grid system, ensuring
precision and uniformity across all characters. Some
characters feature angular cuts and intersecting lines, adding
a dynamic and unique visual interest. The use of consistent
line weights throughout the characters ensures readability and
visual harmony. The font includes open shapes and negative
space, enhancing its modern and clean aesthetic. The design
integrates both rectangular and circular motifs, creating a
balanced and visually appealing typeface.
Fig Imported A
FIG Imported All Letters into Fontlab
I found that I imported the fonts at different sizes suspecting that it was a design issue in ai and changing the
After importing all designed typefaces in the FontLab, I
started doing the kerning. Kerning, the adjustment of space
between characters in typography, is essential for enhancing
readability and creating visual harmony. Proper kerning ensures
that the spaces between letters are even, making the text more
legible and easier to read. This is particularly important in
body text, where consistent spacing contributes to a smooth
reading experience. In design, achieving visual harmony through
kerning balances the white space between characters, resulting
in a cohesive and aesthetically pleasing appearance. Well-kerned
text looks polished and professional, reflecting positively on
the overall design.
For brands, kerning supports visual identity by
influencing the perception of logos, taglines, and other
textual elements. Precise kerning can make a brand's
typography distinctive and memorable, enhancing its
impact. Attention to kerning in branded materials ensures
that text aligns with the brand's image and message.
Additionally, kerning improves aesthetics in design by
allowing designers to achieve a particular visual style
and emphasize certain words. This attention to detail
demonstrates professionalism and a commitment to quality,
setting a design apart and making it more attractive to
viewers.
Typeface Preview,
The first slide introduces the New Media Font with a bold
"WV" acronym in the center, featuring a vibrant color
palette of green and purple against a dark background. The
design elements around the text, such as pixelated shapes
and lines, emphasize the digital and futuristic
theme.
2This slide displays the full character set of the New
Media Font, including uppercase and lowercase letters,
numbers, and special characters. The background features a
colourful, gradient pattern that adds a vibrant and energetic
feel to the presentation.
New Media Font Presentation
Compiled Work of Applications
Overview
The New Media Font is tailored to encapsulate the
innovative and dynamic spirit of new media content.
This typeface is designed to enhance visual identity
across various digital platforms, providing a unique
and memorable typographic experience. Below are
detailed descriptions of the different applications of
the New Media Font, demonstrating its versatility and
adaptability.
3.2 FINAL OUTCOME
Click the link to view
Applications
Submission
- PDF
Click the link to view, download kuan font:
https://drive.google.com/file/d/1D8D3Dqq1fOfGGHNA0jP--xZ2hN_ONU6C/view?usp=drive_link
4. FEEDBACK
WEEK 8
General Feedback:
Mr. Vinod suggested multi-choice options for choosing from ideas, as having one option can
lead to a lack of confidence or time and a lack of purpose.
Specific Feedback: My chosen theme needs a sketch.
WEEK 9 Specific Feedback: I need to work more on explanations about my ideas.
WEEK 10
General Feedback: Mr. Vinod said that when presenting fonts, choose a different font for explanations or headlines. The main criteria for creating typefaces are to keep your typeface consistent, and establish the same thickness, and Uppercase and lowercase letters should be created separately for consistency. Manage the height while creating large and little ones. You require evidence of your work progress.
Specific Feedback: My chosen style of "new media font" sketches are quite playful. I need to make them more modern.
WEEK 11
General Feedback: Mr. Vinod said that before moving fonts from Illustrator to FontLab, make sure all elements are integrated, and the counter space is correct, and do not round them in FontLab; instead, retain their position.
Specific Feedback: My digitalisation of the typeface can be more explorations. I can try to add the thickness of the strokes.
WEEK 12
WEEK 13
General Feedback:
Specific Feedback: .
5. REFLECTIONS
EXPERIENCE
I experienced that designing a typeface from scratch to address a specific issue was a challenging yet rewarding experience. The process began with extensive research to understand the common problems and requirements within the chosen field. This research phase involved reviewing existing typefaces, analyzing user feedback, and identifying gaps that could be filled with a new typeface design. The research process involved sketching, conceptualizing, digitizing, testing, refining, and applying the final typeface across various mediums. Initial sketches were created to explore different design directions, digitized using font design software, and tested for readability and inconsistencies. Feedback from peers and potential users further refined the design. The experience highlighted the importance of understanding specific field needs and the iterative nature of the design process.
OBSERVATION
I observed that key observations included user-centric design, technical challenges in digitization, and versatility and adaptability during the typeface design process. Understanding the target audience and context is crucial for identifying issues and areas for improvement. Technical expertise is essential for maintaining integrity across different sizes and resolutions.
FINDINGS
I found that the design process emphasizes readability, consistency, and user experience. A well-designed typeface enhances usability, improves content comprehension, and creates a positive impression. Iteration is crucial for achieving success, as continuous testing, feedback, and refinement are necessary to address issues and improve the design.
6. FURTHER READING
Fig. 6.1 Typographic design: Form and communication (2015)
Carter, R., Day, B., Meggs, P. B., Maxa, S., & Sanders, M. (2015). Typographic design: Form and communication. Hoboken, New Jersey: John Wiley & Sons, Inc
Fig. 6.2 The Typographic Message (pg. 114)
Fig. 6.3 The Typographic Message (pg. 117)
In these pages, the author discusses the intricacies of typographic communication. One key takeaway is the creation of effective typographic messages. The author emphasizes that crafting these messages involves a combination of logic and intuitive judgment. This blend is essential because it ensures that the typographic communication is both reasoned and creatively engaging. Furthermore, the author highlights the importance of striking a balance between these two extremes, intuition and logic, to achieve optimal results in typographic design.
Additionally, the author points out the necessity of having a functional verbal and visual vocabulary. This comprehensive vocabulary is crucial for effectively addressing the wide range of needs in typographic communication. By mastering this balance and vocabulary, designers can create messages that are not only clear and functional but also visually appealing and impactful.
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