Typography | Task 3 Type Design & Communication
17/6/24 - 12/7/24（week 9 - week 12）
Gao Yuan Yi 0373945
Typography
Task 3 Type Design & Communication
LECTURES
All lectures are completed in Task 1: Exercises 1 & 2
INSTRUCTIONS
Task 3 Type Design & Communication
For Task 3, we were required to design 9 different typefaces which have subtlety, character, presence, legibility and readability. Below are the letters we need to design: "s e t o g l i d h n ! # , .". Upon completion of the font, we need to create a basic A4 size poster displaying our font.
Sketches
Fig.1.1 Sketches #1-5
Fig.1.2 Sketches #6-9
I came out 9 kinds of designs after week 9. My favorite sketch is #5. Based on the feedback given by Mr Max, #2 can be chosen to proceed to digitisation stage.
I started by sketching out the rough ideas for all the letters that need to be digitised.
Fig. 2. 1 Letter Deconstruction
Fig. 2. 2 Typeface Outcome
While digitising the designs, I used the rectangles of equal size to check and ensure the spacing is consistent for every letter.
After finishing the digitisation of the letters, I've noticed that the ascender and descender height in the sketches went over the set heights given which should be within the 1000 x 1000 points art board, thus I adjusted the heights accordingly to make sure they follow the basic rules.
After receiving feedback from Mr Max during Week 10, I realised that the right sidebearing measurment of the punctuation mark should be more than the left sidebearing measurment. Generally, it is 8 times that of the left sidebearing measurment. So I sovled this problem and finalised my font design.
Final Task 3: Type Design and Communication
Download font here:
Fig. 3. 1 FontLab Screengrab
Fig. 3. 2 Final Task 3: Type Design and Communication "Yuan Yi" - JPEG
Fig. 3. 3 Final Task 3: Type Design and Communication "Yuan Yi" - PDF
Fig. 3. 4 Final Poster - JPEG
Fig. 3. 5 Final Poster - PDF
FEEDBACK
Week 9
General Feedback
Five typefaces were designed correctly in the tutorial. After 9 typefaces were all designed, sketches #2 was chosen to digitize.
Week 10
Specific Feedback
The right sidebearing measurment of the punctuation mark should be more than the left sidebearing measurment. Generally, it is 8 times that of the left sidebearing measurment.
Week 11
Specific Feedback
The digitised font designs were finalised and approved by Mr Max, can start importing them all into FontLab 7.
Week 12
Specific Feedback
Side bearings and final poster looking good, can finalise.
Experience
Over the past few weeks, my exploration into typography, typeface design, and FontLab has been both challenging and rewarding. Initially, I struggled with understanding the complexities of typeface design and the intricacies of FontLab. However, as I delved deeper into the subject, I began to appreciate the art and science behind creating a typeface. Practical exercises, coupled with theoretical lessons, enabled me to gain a more comprehensive understanding of the subject matter. Each task, from sketching letterforms to digitizing them in FontLab, was a step forward in mastering the nuances of type design.
Observations
One of the key observations during this period was the profound impact of small details on the overall appearance and readability of a typeface. Subtle adjustments in the curvature, spacing, and weight of letters can significantly alter the perception of the typeface. I also noted the importance of consistency and harmony within a typeface family. Ensuring that all characters align in style and proportion is crucial for a cohesive and professional design. Additionally, using FontLab highlighted the importance of precision and attention to detail. The software’s powerful tools allowed for fine-tuning every aspect of the typeface, from kerning pairs to bezier curves.
Findings
Throughout the course, I discovered several important insights. Minor adjustments can have a major impact on the readability and aesthetics of a typeface. Paying attention to the finer points of design is essential. Mastering FontLab requires patience and practice. Understanding its various tools and features is crucial for efficient and effective typeface design. Consistency in Design: Maintaining uniformity in style, weight, and spacing across all characters in a typeface family is vital for creating a cohesive look. The design process is highly iterative, involving constant refinement and revision. Feedback and critique are invaluable for improving the final product.
FURTHER READING
Fig. 4. 1 Typographic design: Form and communication (2015)
Based on the list of recommended readings in the module information booklet, I did some further reading with the book "Typographic design: Form and communication".
Reference:
Carter, R., Day, B., Meggs, P. B., Maxa, S., & Sanders, M.
(2015). Typographic design: Form and communication.
Hoboken, New Jersey: John Wiley & Sons, Inc.
This book provides readers with a concise and comprehensive overview of information, vocabulary, tools and effective methods used in layout design practice.
Fig. 4. 2 Chapter 4 The Typographic Grid-Multicolumn Grids, page 79
An excellent model for illustrating the modular grid is the work of Josef Müller-Brockmann, a major contributor to its wide acceptance. A leader in the development of the International Typographic Style during the 1950s and 1960s, Müller-Brockmann sought pure objectivity in typography and graphic expression. His work, including posters that remain as fresh today as they were when first designed, attest to the power and visual impact of his work. This rational philosophy, which he shared with other pioneers of the movement, was assimilated throughout Europe and the United States. In his 1981 book, Grid Systems, Müller-Brockmann states, “The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future.”
Fig. 4. 3 Chapter 4 The Typographic Grid-Multicolumn Grids, page 84
Improvisational structures evolve in response to the specific elements of information, as opposed to modular grids, which are predetermined organizational devices. A complete grasp of the visual material in question enables designers to understand the relationships between parts and to create visual hierarchies among them. In the metaphorical sense, typographic designers are information architects—they “build”
typographic environments for clear and accessible information.
Typographical materials are the building blocks of improvisational structures. Once it is known which elements are dominant, subdominant, and subordinate, they are translated into typographic forms reflecting their hierarchical status. These forms, consisting of different sizes and shapes, are then introduced into the spatial field and intuitively arranged until a rational and aesthetic solution is found. For a poster announcing a lecture series, designer David Colley has organized the information into five distinct zones: title, speakers, venues, sponsor, and tertiary information. The improvised structure not only communicates clearly through legible typography and the effective organization of contrasting parts, it also provides a dynamic viewing experience based on the language of asymmetrical composition.
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