Typography | Task 3

06/11/2023 - 17/12/2023 (Week 7 - Week 12)

Yong Xiao Tong / 0368290

Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University 

Task 3: Type Design & Communication

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LECTURES

All lectures 1 to 7 completed in Task 1 

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INSTRUCTIONS

Task 3 : Type Design & Communication

This task is to design a typeface with key characteristics such as subtlety, character, presence, legibility, and readability. The specified letters to be designed include "o l e d s n c h t i g , . ! #". After completing the font, the next step is to create a basic A4 size poster showcasing the designed typeface.

Deconstruction

Before sketching our design, we had to choose a preferred font from the 10 provided fonts and then deconstruct the letterforms using the following letters (H, o, g, b). I chose to deconstruct the Bodoni font.

Fig 1.1 Letter "H" Deconstruction (7/11/2023)

Fig 1.2 Letter "o" Deconstruction (7/11/2023)

Fig 1.3 Letter "g" Deconstruction (7/11/2023)

Fig 1.4 Letter "b" Deconstruction (7/11/2023)

Sketches

We have to sketch the given letters "odhng" and decide whether to sketch them all in uppercase or all in lowercase.

Fig 1.5 Sketches (11/11/2023)

I used three different pens to sketch several sketches, and I later decided to digitise the circled one.

Digitisation

Before drawing the fonts, I first set guidelines for the x-height. Then, I use the pen tool to draw the letter "E". Drawing a letter initially helps me proceed to set the ascender line, cap line, median line, baseline, and descender line. After completing the set of letters and punctuation, I proceed by selecting Object > Path > Outline Stroke. I then refine the curves by adjusting the anchor points.

Fig 1.6 Font digitisation progress #1 (20/11/2023)

After completing my first digitised font, I continue to refine it.

Fig 1.7 Font progress comparison #1 (27/11/2023)

The refining process truly makes the fonts look slightly different, the first one is quite thin, and the third one begins to have a bit of boldness. Regarding the appearance of the third one, Mr. Vinod suggested that I take a look at "art deco sans-serif fonts" for reference.

Fig 1.8 References (27/11/2023)

I went through some Art Deco-style fonts on Google and continued refining my font.

Fig 1.9 Font digitisation progress #2 (8/12/2023)

Again, the refining process made an obvious difference from the first one to the third one.

Fig 1.10 Font progress comparison #2 (8/12/2023)

I have chosen the third one as my final outcome.

Fig 1.11 Final outcome (8/12/2023)

FontLab

After finalising the design of my typeface in Adobe Illustrator, I started pasting my font into FontLab.

Fig 1.12 FontLab process (11/12/2023)

Fig 1.13 FontLab process side-bearings (11/12/2023)

After pasting all the letters from AI to FontLab and adjusting the side-bearing, I could finally export my font.

I chose the name "Dedash" for my font because it merges the classic Art Deco style with today's minimalism. "De" derives from "deco", and the term "dash" somehow evokes a sense of speed and energy. So, I see the word "dash" as a speedy and lively movement, capturing the vibe of the fast and stylish elements in my font design, as well as contemporary design trends, all with a touch of minimalism. I believe the name reflects the harmonious blend of classic Art Deco aesthetics with a modern twist.

Final Submission

Download font here: https://drive.google.com/file/d/1r_P4HAYdiObiyneKr1rLNa3-87mpY6C_/view?usp=sharing

Fig 1.14 Final Type Construction "Dedash" (JPG) (16/12/2023)

Fig 1.15 Final Type Construction "Dedash" (PDF) (16/12/2023)

Fig 1.16 Final Poster (JPG) (16/12/2023)

Fig 1.17 Final Poster (PDF) (16/12/2023)

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FEEDBACK

Week 8

General Feedback: No feedback (Independent Learning Week)

Week 9

General Feedback: When you do your writing, it is of a similar nature to attempting to combine by the principles for font design.

Week 10

General Feedback: The lesser of anchor point, the easier to control. Make sure to have advanced tool bar.

Specific Feedback: The letter "G" crossbar can shorten a bit.

Week 11

General Feedback: If you are confused, always refer to the existing typefaces from the 10 fonts that I provided for you. Take a look to see examples of punctuation. You are learning how to write the letters for the first time, so keep it simple. Once you have imported all your letter fonts into FontLab, use the chart that I provided here to create the side-bearing of your letters.

Specific Feedback: Always look back to the x-height, to make sure maintaining consistency.

Week 12

General Feedback: Make sure that all those letters are the same size, but you can compose them in any way, similar to how I've broken the word. The purpose is to promote the consistency to your font, so the visual impact of what you've created is very important.

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REFLECTION

Experience: Creating the fonts was way more fun than I thought. At first, I was a bit unsure about it because there are already many cool fonts out there, so I had no idea what to sketch. However, as I started making my own letters, it turned into a really cool experience. It felt like I had accomplished an impossible thing, and I never expected it to be so enjoyable to design my own fonts. It was exciting when I exported my fonts and could use them on the screen.

Observations: I learned that making fonts is all about being really careful. Each line and curve needs to be just right. It's like a mix of drawing and paying close attention to details. I also noticed that if the letters aren't spaced right or don't look balanced, it doesn't look good. It's important to make sure everything fits together.

Findings: This task taught me how important it is for letters to look clear and balanced when people read them. It also helped me get better at using design tools like FontLab. Overall, it was a good experience because it was interesting to see how my fonts can be used, and now I know about the process of making fonts.

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FURTHER READING

Typography Referenced - Allan Haley, Richard Poulin, Jason Tselentis, Tony Seddon, Gerry Leonidas, Ina Saltz, Kathryn Henderson with Tyler Alterman

Fig 2.1 Typography Referenced

I chose this book for my reading because it's authored by eight different designers, making it intriguing to explore their diverse opinions. Having completed "Typography Referenced," I realised it is not your typical dry read. This book filled with images and examples, which made every concept becomes vivid. What sets this book apart is its journey into the heart of design, going beyond just fonts. I went from knowing the decoding the language of typography to unearthing the wild history of fonts, it's a fun ride of knowledge.

The book also serves up practical insights on choosing the perfect typeface and crafting designs. It seamlessly blends theory with hands-on tips, making it a go-to guide for me to know about design. Also, the collaborative effort of all the authors brings diverse perspectives to the table, making it a well-rounded experience.

One highlight that stuck with me was the exploration of contemporary design practices. It's not just about what fonts were cool back in the day, it's a roadmap to what's hot now.

Overall, "Typography Referenced" isn't just a book, it's a toolkit for unleashing your inner design maestro. Somehow I feel so tired of the same old boring textbooks, but this one's a breath of fresh air. With the provided example, I've learned more than I thought possible, and now I'm armed with the knowledge to make every design pop.