TYPOGRAPHY / TASK 3A : Type Design and Communication
08.10.2021 - 28.10.2021 (Week 7 - Week 10)
Muhammad Azka Farezi Septenal / 0351345 / Bachelor of Design (hons) in
Cretive Media
Typography
Task 2 / Typographic Exploration and Communication
JUMP LINK :
Task :
LECTURES
Typography : Task 3 briefing and demo
- Research and find any reference from the internet about "Type Design"
- Find a decent typeface and try to deconstruct it
- Learn and identify deconstructed font design
- Produce 5 sketches or more (The more sketches created are nice)
Figure 7.1 Deconstruct "R"
Subsequently, we will also need to deconstruct our font reference in
order to figure out how to produce a neat and acceptable font design. We
will also need to be aware of several notes from the lecturer
before start working on our task.
- Follow the stated ascender height
- Capital height
- Median or mean line
- Baseline
- Descender line
INSTRUCTIONS
TASK 3A : TYPE DESIGN AND COMMUNICATION
For this particular task, students were assigned to learn and to produce
their own typefaces by following the instruction from the given videos. To
begin this project, all students need to research about this topic (Type
Design and Communication) as well as to sketch, identify, and deconstruct
the reference.
Here are the letters that we will design : a i m e p y t g d o b
! , .
- RESEARCH :
Font Space :
The majority of my final designs inspired from this website, Millions of
references can be found in here. You can configure and determine so many
style reference from this website and I would say this font browser does
helped me a lot.
Another prodigious website that I've discovered from the
internet was My Fonts, innumerable breath taking fonts can be
found I this particular website, the preponderance of font
designs in here are classical and old school (definitely what I was
looking for). I would certainly comeback here to explore another inspos
from here.
- SKETCHES AND IDEA EXPLORATION :
Figure 2.3 Sketch #1 and #2 (22/10/21)
Figure 2.4 Sketch #3 and #4 (22/10/21)
- IDENTIFY AND DECONSTRUCT THE REFERENCE :
Figure 2.5 Deconstructed letter "E" - Futura Regular (22/10/21)
Figure 2.6 Deconstructed letter "M" - Futura Regular (22/10/21)
Figure 2.7 Deconstructed letter "M" - Futura Regular (22/10/21)
- DIGITALIZE AND EXECUTION :
Figure 2.8 Stated Guidelines (22/10/21)
Figure 2.10 Digitalize the Early Design (22/10/21)
Afterwards, I started to digitalize the first layout of my pre
designs act in a accordance with the instructions, as mentioned
before from the MIB as well as the appointed video, we were required
to execute 14 different letters into digital form operating
Adobe Illustrator.
Here is my final layout, I tried to differentiate this specific
layout from other initial font designs. By reducing the thickness and
stroke from this layout, I performed different impression to the
audience and give the sense of modern along with a small-scale of movement
effect from this composition.
- LISTED LAYOUT (BEFORE FEEDBACK) :
Figure 2.11 Layout #1 (22/10/21)
- Ascender : 820 Pt
- Capital Line : 620 Pt
- Med Line : 500 Pt
- Baseline : 0 Pt
- Descender : - 330 Pt
Figure 2.12 Layout #2 (22/10/21)
- Ascender : 690 Pt
- Capital Line : 690 Pt
- Med Line : 500 Pt
- Baseline : 0 Pt
- Descender : - 250 Pt
- LISTED LAYOUT (AFTER FEEDBACK)
Figure 2.13 Guides and Digitalized font (22/10/21)
- Ascender : 690 Pt
- Capital Line : 690 Pt
- Med Line : 500 Pt
- Baseline : 0 Pt
- Descender : - 250 Pt
Figure 2.14 Final Design (22/10/21)
I decided to create another variant for my font design, I
won't make it too complicated so I've created a thicker version
from the regular Galactica font. There isn't any significant
changes from the original font, but I personally want to create
bolder version because I thought the
bolder version looks more futuristic than the foregoing
version,
- PROGRESSION (IN FONT LAB) :
Figure 2.15 Convert the Font Design to FontLab 7 (22/10/21)
As instructed before, I converted the final arrangement of my letter
design into FontLab 7. I did several adjustment such as re composing
the font.
Figure 2.16 FontLab Progression (22/10/21)
We also been thought how to kerning our typefaces through FontLab
7, Mr Vinod also demonstrated us to adjust several aspects to
improve our font design, he also let us know to adjust the font
information and measurement to complete the typeface design.
Figure 2.17 Converted Font Design (22/10/21)
If you're using MacBook to create the letter design, you can
see this item and icon from your document once you export it
into your computer. You can use it and even publish your work to
the Internet when you're successfully convert it.
- FINAL RESULT : TASK 3A (TYPE DESIGN AND COMMUNICATION)
Figure 2.20 Final Result Task 3A - "Galactica Regular", JPEG
(22/10/21)
Figure 2.21 Final Result Poster - "Galactica Regular", JPEG
(22/10/21)
Figure 2.22 Final Result - "Galactica Regular", PDF (22/10/21)
Figure 2.23 Final Result - "Galactica Regular" (22/10/21)
- FONT GENERATOR :
- You can only use (a i m e p y t g d o b ! , .) typefaces.
- You can only use lowercase typefaces.
FEEDBACK :
Week 8 - 10 :
- General Feedback :
- Mr Vinod managed to give all students who attended the class a valuable feedback, We spent the whole class to learn and identify our little mistakes and had given second chance to develop and improve our final work before submission.
- Specific Feedback :
- Mr Vinod told me that the Layout #2 looked nice and executed well, besides, he also gave me a little note to refine several parts such as the letter "M" curve and composition as well as to increase the "Coma" size.
REFLECTION :
- Experience :
- New task is a new journey for me, This exercise was a great moment for to explore and develop my self. Mr Vinod helped me again and again also did a very good job to elaborate us about font exploration and communication. I'm not a very good person to create or deal with typography, but ever since I entered Mr Vinod's class, I knew that I evolved and grew in here.
- Observation :
- I've discovered FontLab 7 very well lately, I also had a chance to enhance my knowledge and understanding about letter design and typefaces throughout this project. Poster exploration also supplemented to this task so that every student will be able to learn many things from this exercise.
- Finding :
- I found that construct a font design was very fun, I'm over the moon while producing my own fonts through FontLab 7, it was such a new thing for me and as I mentioned, a new task is a new adventure for me and it is a form of growing to me.
FURTHER READING :
Figure 3.3 Typographic Design : Form and Communication
Rob Carter, Philip B. Meggs, Ben Day, Sandra Maxa, Mark Sanders
Typographic Design : Form and Communication
Figure 3.4 Sans Serif (22/10/21)
Figure 3.5 Sans Serif and Serif Typefaces (22/10/21)
Sans serif and serif typefaces
- Because sans serif typefaces are generally simpler in form than serif typefaces and scripts, they achieve a clearer visual presence on the web. On screen, very small serifs are described by an inordinate number of pixels relative to the rest of the letterform. Comparisons between sans serif typefaces must be made by the designer to ensure that selections are suitable to the content. Usually, a well- proportioned sans serif typeface possesses a medium stroke weight and a balanced ratio of form to counterform.
- Slightly condensedfaces afford more characters per line and thus utilize less space on the page. Designers may safely select traditional workhorses such as Helvetica, Univers, and Futura, or typefaces embracing similar design characteristics. These classic typefaces still appear fresh when well- spaced and provided with sufficient scale contrast. Sans serif fonts with personality can be equally effective for on-screen viewing. These include DIN, Franklin Gothic, Gill Sans, Lucida Sans, Meta, and Rotis Sans, to name but a few.
- When serif typefaces are used, they are best selected on the basis of their legibility on screen at small sizes (Fig. 3.4). In the serif category, slab serif fonts provide more legibility than Old Style, transitional, or Modern typefaces (Fig. 3.). Typefaces such as Memphis, Rockwell, Serifa, and Museo possess moderate contrast between strokes, and blocky serifs that translate well into pixels. All typefaces under consideration should be tested by comparing their relative legibility on screen at various sizes. Typefaces endowed with sturdy serifs and moderate stroke contrasts hold up best to pixelation on screen (Fig. 8-16).
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