Typography / Task 3 - Type Design and Communication (Font Design)
27/5/2024-Ending Week
FENG SHIWEN / 0374595
Bachelor of Design in Creative Media
Taylor's University
Task - Typographic Exploration & Communication
CONTENTS
INSTRACTION
Task 3 LECTURE
Type Design and Communication (Font Design)
Week 9
In this lecture, we began to learn the production of the third task. Mr.
Max showed us in class how to draw fonts with three pens and told us that
we could start to finish the sketch.
Week 10
In this lecture, Mr. Max taught us some knowledge of typography design,
took us to deconstruct the m of this blog font, and let us try it.
Figure 1.2 Deconstruction of lowercase ' m '
Week 11
This week, Mr. Max taught us to use a new design software fontlab7,
learning how to import fonts from adobe illustrator into fontlab7 for
design.
SKETCHES
The teacher asked us to choose upper or lower case to sketch the five
letters of 'o h d n g ', in which nine sketches were designed using three
kinds of brushes.
Figure 1.3 Sketches
After that, the teacher selected this set of sketches for me and began to digitize them
Figure 1.4 Sketches
Figure 1.5 Sketch digitization
After we had settled on the font, we were asked to start designing more
letters as well as punctuation "ohdnglescti,.!#" These are designed with a
500pt by 500pt box as the baseline to determine the x height of the font.
Figure 1.6 Digitization of letters and punctuation marks
This is the first version of font that I imported into fontlab7. After
discussing with Mr. Max, I modified many unsightly places and adjusted
the font spacing appropriately.
Figure 1.7 Font rendering on fontlab7
I mainly modified the four letters of nhod counter to make them
harmonized, and finally decided the final font with the teacher.
I decided to name this font 'Crystal' , because its main feature is
that it has a sharp edge, and most of the letters have a crystal
structure on the upper left and lower right, which looks sharp and
firm.
Figure 1.8 Final font
Figure 1.9 Final font
Figure 1.9 Final font (PDF)
Final poster
Figure 1.10 Final poster
Figure 1.11 Final poster (PDF)
Font Tester
Downloadable font link:
https://drive.google.com/file/d/119ZgFZ2dH7xD-W2s6B-IStTDIVu5HIHO/view?usp=drive_link
Try typing out the characters: o h d n g l e s c t i , . ! #
FEEDBACK
Week 9
General Feedback :This week we learned more about typography and
started sketching fonts
Specific Feedback :The seventh set of sketches is ready to be
digitized
Week 10
General Feedback : We learned how to deconstruct fonts in
adobe illustrator and generate fonts using graphics generator tools to
start digitizing our sketches.
Week 11
General Feedback : We learned how to adjust parameters such as
font length and width when importing a font that has been digitized in
adobe illustrator into fontlab7.
Specific Feedback :The four letter ‘ n h o d ‘ counter should be
adjusted. Then, the font design for the task3 task is now complete.
Week 12
General Feedback : Mr. Max reminded us to upload the font
test in fontlab7 to Facebook, using our own fonts for these
posters.After the teacher's inspection, The font poster is ready, I
exported the font file and set up the font test.
REFLECTION
Experience
I am very happy about the completion of task 3, which means that I have
learned a lot of knowledge in the course of typesetting, and can
disassemble and complete complex tasks step by step.
Observation
Of course, there were many difficulties in the process, and now I have
overcome them and have a deeper understanding of typography. I have always believed that typography is a subject that requires a lot
of thought, which requires creativity and rigor to create better works
with limited letters or space.
Finding
Through these weeks of learning, I have a clearer direction for my design
style.
Next, I want to continue to study typography and related software, which
I believe will be of great help to me in the future!
FURTHER READING
Typographic Principles
By Jason Tselentis
Designing with type is as much a science as an art, requiring a
delicate balance between all items in the format to deliver
appropriate and functional solutions. Designers who rely “purely on
instinct” often have the benefi t of years of experience, and thanks to
their training, can call on formal qualities and aesthetic conditions
that have worked well for them in the past.
Contrasts (230) in size, shape, tone, placement, and color all factor
into how elements placed in the format look. Being visually literate
allows the designer to give words and images shape, bringing it all
together as a composition created within the required format.
Designing with type requires not only an understanding of what makes a
serif and what makes a sans serif, but also a working knowledge of
their use and even a small appreciation of the individual attributes
that make one font diff erent from another, as well as how they
interact when placed together.
And what about style? Good typographic expression is an art,
but it is also, without question, based on principles. Designers may
use knowledge and experience to design works that evoke a particular
period, place, person, or movement. Often, they will do so to further
the communicative message required. Many intentionally take liberties
and break the rules to create stylistic marvels for the client’s
interest, the audience’s, and their own. But one of the most valued
typographic principles deals with purpose, and more specifi cally
function.
Designing a book requires a fair amount of restraint as well as
respect for the divine principles that book designers have used for
centuries. And readability (330) should take precedence. Creating a
gigantic billboard, for example, calls for larger typography than a
book designer employs. And then of course, there are the delicate
niceties, much like stylistic guidelines that writers
follow.
There’s a saying that goes, “If all you have is a hammer, everything
looks like a nail.” This holds true for the designer. If all a
designer knows is a handful of principles, then all a designer can create is a handful of
solutions. This chapter may not include every rule, but knowing as
many rules as possible helps designers expand their toolbox and decide
what to use, and when.
Comments
Post a Comment