Typography Task 3 / Type Design & Communication
26.5.2023 - 23.6.2023 (Week 8 - Week 12)
Chong Hui Yi / 0363195
Typography / Bechelor of Design (Honours) in
Creative Media
Task 3/Type Design & Communication
LECTURES
Refer to Task 1
INSTRUCTIONS
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Task 3: Type Design & Communication
Design a set of letters and symbols (a, e, t, k, g, r, i, y, m, p, n, !, #,
comma, and period). Choose an existing font as a base and conduct
research and sketches. Digitize the designs using Adobe Illustrator and
FontLab, resulting in a usable font. Create a basic A4 poster showcasing all
the characters.
Research
I searched for various fonts as reference materials on Google
Fonts, Fontshare, and Pinterest.
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Fig. 1.0 Research form Pinterest, week 7 (20/5/2023)
Figure 1.1 shows that there can be connections between
letters, for example, C, D, E, and G can have a circular shape
as their basic form, and there are relationships between T and
E, V and A, and so on.
Fig. 1.1 Reference, week 7 (20/5/2023)
Fig. 1.2 Typography principles, week 7 (20/5/2023)
For a detailed explanation of Fig. 1.3, please refer to
the
further reading
in Task 1.
Fig. 1.3 Optical illusions, week 7 (20/5/2023)
This website,
https://www.instagram.com/p/CRjdPtSjz5K/?igshid=MzRlODBiNWFlZA==, can teach us how to design commas, periods, and other
punctuation marks.
Fig. 1.4 Period & comma design tutorial, week 10
(15/6/2023)
.png)
Fig. 1.0 Research form Pinterest, week 7 (20/5/2023)
Figure 1.1 shows that there can be connections between
letters, for example, C, D, E, and G can have a circular shape
as their basic form, and there are relationships between T and
E, V and A, and so on.
Fig. 1.1 Reference, week 7 (20/5/2023)
Fig. 1.2 Typography principles, week 7 (20/5/2023)
For a detailed explanation of Fig. 1.3, please refer to
the
further reading
in Task 1.
Fig. 1.3 Optical illusions, week 7 (20/5/2023)
Fig. 1.4 Period & comma design tutorial, week 10
(15/6/2023)
Identify and deconstruct references
Out of
the 10 typefaces, I chose Bembo Std Bold because I wanted to create a
font with varying line weights, and serif typefaces prominently showcase
the contrast in line thickness. Here, I chose to deconstruct the letters A, M, E, and K.
Letter A:
- The two diagonals are inclined at different angles, with one
diagonal being steeper and the other more gentle.
- The middle horizontal bar is not positioned in the exact center of
the letter but slightly lower.
- The curves of each leg have different degrees of curvature.
Fig. 2.0 Deconstructed "A" - Bembo Std Bold reference, week 8 (28/5/2023)
Letter M:
- The curves of each leg have different degrees of curvature.
- The outer two diagonals of M have straighter angles compared to the
inner two diagonals.
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Fig. 2.1 Deconstructed "M" - Bembo Std Bold reference, week 8 (28/5/2023)
Letter E:
- The middle horizontal bar is not positioned in the exact
center of the letter but slightly higher.
- The bottom horizontal bar is longer than the top horizontal
bar.
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Fig. 2.2 Deconstructed "E" - Bembo Std Bold reference, week 8 (28/5/2023)
Letter K:
- The descender of the letter K extends beyond the top
part.
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Fig. 2.3 Deconstructed "K" - Bembo Std Bold reference, week 8 (28/5/2023)
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Fig. 2.1 Deconstructed "M" - Bembo Std Bold reference, week 8 (28/5/2023)
Letter E:
- The middle horizontal bar is not positioned in the exact
center of the letter but slightly higher.
- The bottom horizontal bar is longer than the top horizontal
bar.
.png)
Fig. 2.2 Deconstructed "E" - Bembo Std Bold reference, week 8 (28/5/2023)
Letter K:
- The descender of the letter K extends beyond the top
part.
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Fig. 2.3 Deconstructed "K" - Bembo Std Bold reference, week 8 (28/5/2023)
Exploration
In the exploration of different tools, the following tasks were
performed:
Fig. 3.0 Exploration of different tools - PDF, week 7 (25/5/2023)
Fig. 3.1 Practicing writing letters - PDF, week 7 (25/5/2023)
Fig. 3.2 5 Final options, week 7 (25/5/2023)
Fig. 3.3 Practicing with flat 3.0- PDF, week 8 (28/5/2023)
- Writing diagonal, horizontal, vertical, and circular lines for all 5 tools in 5 different ways for each tool.
- Writing "AOTMX" for all 5 tools in 5 different ways for each tool.
- Selecting one option from the 5 different options for each tool.
- Writing the letters "a e t k g r i y m p n" in the chosen style, either UPPERCASE or lowercase.
Fig. 3.0 Exploration of different tools - PDF, week 7 (25/5/2023)
Afterwards, I began to experiment with different ways to write the
letters "a e t k g r i y m p n" (refer to Fig. 1.5).
Fig. 3.1 Practicing writing letters - PDF, week 7 (25/5/2023)
I have come up with 5 final options, and personally, I prefer options
1 and 2. Mr. Vinod suggested that I go with option 2.
Fig. 3.2 5 Final options, week 7 (25/5/2023)
Fig. 3.3 Practicing with flat 3.0- PDF, week 8 (28/5/2023)
Digital exploration
Next, we need to digitize our font in Ai. It is important to note
that we cannot adjust the size of each individual letter separately;
it must be done as a whole.
First Version
I first select the version that I believe looks the best within each letter, and then I use custom calligraphic brush and pen tools to draw their shapes.
I use pen tools to draw the letter A, following the draft and making some of its corners smoother. I also add some textured edges to give it a handwritten feel. The process of creating other letters is similar, essentially imitating the draft.
Fig. 4.0 Process of letter A, week 9 (8/6/2023)
First Version
I first select the version that I believe looks the best within each letter, and then I use custom calligraphic brush and pen tools to draw their shapes.
I use pen tools to draw the letter A, following the draft and making some of its corners smoother. I also add some textured edges to give it a handwritten feel. The process of creating other letters is similar, essentially imitating the draft.
Fig. 4.0 Process of letter A, week 9 (8/6/2023)
Fig. 4.1 Digitised letterforms & original lettering, week 9 (8/6/2023)
Second Version
At the beginning, I tried to make the vertical stroke more unique and intricate. However, I realized that leaving them plain and using the custom calligraphic brush directly was sufficient. As for the other strokes, I made minimal modifications compared to the initial draft.
Fig. 4.2 Variations in vertical strokes, week 10 (9/6/2023)
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Fig. 5.1 Adjusting the letterforms, week 11
(16/6/2023)
Fig. 5.2 Before & after adjustments of the letter
K, week 11 (16/6/2023)
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Fig. 5.3 Guides and digitalised font design, week 11 (16/6/2023)
Fig. 5.4 Font design process, week 11 (16/6/2023)
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Fig. 5.5 Outline of the letterform, week 11 (16/6/2023)
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Fig. 5.6 Letterform without grid, week 11 (16/6/2023)
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Fig. 5.7 Letterform with grid, week 11 (16/6/2023)
At the beginning, I tried to make the vertical stroke more unique and intricate. However, I realized that leaving them plain and using the custom calligraphic brush directly was sufficient. As for the other strokes, I made minimal modifications compared to the initial draft.
Fig. 4.2 Variations in vertical strokes, week 10 (9/6/2023)
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Fig. 4.3 Evolution of different strokes, week 10
(9/6/2023)
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Fig. 4.4 Process of designing 'G', week 10 (9/6/2023)
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Fig. 4.6 Digitalised punctuations, week 11 (15/6/2023)
During the process of digitizing letters, I found the
letter "G" to be quite challenging. I struggled to
achieve the desired shape and had difficulty
maintaining the perfect elliptical form using pen
tools. The empty space in the middle of the letter was
particularly perplexing, and I dedicated a significant
amount of time to researching ways to make the "G"
look more natural.
.png)
Fig. 4.4 Process of designing 'G', week 10 (9/6/2023)
Based on the Gasoek One font's "#", it can be observed
that the two horizontal lines in the middle are not
positioned exactly at the center of the character, but
slightly tilted towards the upper side.
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Fig. 4.5 Gasoek One font reference, week 11
(15/6/2023)
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Fig. 4.6 Digitalised punctuations, week 11 (15/6/2023)
Fig. 4.4 demonstrates the process of creating a comma
using two circular shapes as the basic form. However,
I realized later that their sizes were not in
accordance with the principles, so I made further
adjustments by enlarging them. I also made the period
and comma slightly flattened to better align with the
characteristics of the typeface (refer to Fig. ).
Fig. 4.7 Comma creation process, week 10 (15/6/2023)
Fig. 4.8 Adjustment of punctuations, week 11 (16/6/2023)
Fig. 4.7 Comma creation process, week 10 (15/6/2023)
Fig. 4.8 Adjustment of punctuations, week 11 (16/6/2023)
Then, I assemble the drawn strokes to form
different letters. From top to bottom, Fig. 4.4
displays the second version, followed by the first
version and the initial draft. In the specific
feedback for week 11, Mr. Vinod pointed out issues
with my letters K, M, N, Y, and punctuation marks.
(refer to week 11 feedback).
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Fig. 4.9 Digitalised letters, week 10 (15/6/2023)
I used Optima font as a reference and made modifications
to my A, Y, M, and N letters to enhance the contrast. I
discovered that it is not necessary for all letters to
adhere to conventional stroke patterns; instead, adjusting
the thickness can create a greater contrast and
significantly enhance the visual appeal of the letters.
The adjusted results were indeed much more aesthetically
pleasing compared to the initial versions.
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Fig. 5.0 Optima font reference, week 11 (16/6/2023)
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Fig. 5.0 Optima font reference, week 11 (16/6/2023)
For the original letter K, the top part was larger than
the bottom part, which resulted in an unbalanced
appearance. Therefore, I needed to extend the diagonal
line at the bottom of the K.
Measurements (from baseline)
Ascender line: 725 pt
Cap line: 700 pt
Median line: 500 pt
Descender line: -185 pt
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Fig. 5.3 Guides and digitalised font design, week 11 (16/6/2023)
After multiple revisions, the letterforms were
finalized and refined. The noticeable adjustments were
made to the letters A, K, Y, M, N,
and punctuation marks.
Fig. 5.4 Font design process, week 11 (16/6/2023)
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Fig. 5.5 Outline of the letterform, week 11 (16/6/2023)
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Fig. 5.6 Letterform without grid, week 11 (16/6/2023)
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Fig. 5.7 Letterform with grid, week 11 (16/6/2023)
FontLab
After completing the font design in Adobe Illustrator, the next
step is to transfer the designed font to FontLab for adjusting the
kerning. When copying and pasting the font into FontLab, it is important
to ensure that the font is merged into a cohesive entity.
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Fig. 6.0 Copying and pasting the letters into FontLab, week 11
(18/6/2023)
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Fig. 6.1 Screen grab of character map, week 11
(18/6/2023)
Firstly, I list out all possible combinations of two letters or
punctuation marks to perform kerning. (refer to Fig. 6.2) Then,
I try typing out some words to ensure that the kerning is
correct. Following the principles of kerning simplifies the
process, rather than relying solely on intuition.
The
principles for kerning are as follows (refer to
further reading):
-
Straight-to-straight
letters require the most space.
-
Straight-to-round
letters and rounded letters require slightly less
space.
-
Round-to-round
letters require less space than the previous two
cases.
Fig. 6.2 Letter kerning in FontLab - PDF, week 11
(20/6/2023)
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Fig. 6.3 Words without kerning adjustments, week 11 (20/6/2023)
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Fig. 6.4 Words with kerning adjustments, week 11 (20/6/2023)
I find the most challenging part is to create a sentence that includes
all the designed letters. Finally, I came up with the sentence "TRY MAKING
A GREAT ATTEMPT, KEEP IT YET!" Mr. Vinod mentioned that not all
punctuation marks need to be displayed in the sentence, but the designed
letters must be included.
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Fig. 6.5 Sentences without kerning adjustments, week 11 (22/6/2023)
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Fig. 6.6 Sentences with kerning adjustments, week 11
(22/6/2023)
Poster
We need to export the font as OpenType TT and use it to create a
poster. I have designed several different poster layouts. Due
to the insufficient length of the sentences, there is a lot of blank
space left on the canvas. To fill the empty spaces, I have copied
and pasted some words and adjusted them to a light grey colour. The
sixth poster in Fig. 7.0 is my favourite, but it still requires some
further adjustments.
Fig. 7.0 Poster layout, week 11 (22/6/2023)
I find that adding a slight slant to the text can make the
composition more interesting. I continuously adjust the typeface
information in the middle row, even though I have aligned them and
applied a slight tilt, there is still a sense of misalignment.
Additionally, I experimented with adding texture, but I feel that
it may not be suitable for my poster design, so I reverted back to
the previous version.
Fig. 7.1 Process (1) of poster, week 12 (25/6/2023)
I increased the spacing between "A GREAT" and "ATTEMPT" to make the
small text in the middle appear less crowded. Then, I experimented
with different angles, and ultimately found that 26.5 degrees worked
perfectly.
Fig. 7.1 Process (2) of poster, week 12 (25/6/2023)
Final Outcome
Font download: https://drive.google.com/file/d/143wRddIr4JahC2eXRPoWD9QIgX2Z29We/view?usp=drive_link
Fig. 7.2 Final typeface - JPEG, week 11 (22/6/2023)
Fig. 7.3 Final typeface - PDF, week 11 (22/6/2023)
.png)
Fig. 7.4 Metrics window with sentence in FontLab, week 11
(22/6/2023)
.png)
Fig. 7.5 Metrics window with sentence in FontLab, week
11 (22/6/2023)
Fig. 7.6 A4 poster - JPEG, week 12 (25/6/2023)
Fig. 7.7 A4 poster - PDF, week 12 (25/6/2023)
FontLab
After completing the font design in Adobe Illustrator, the next step is to transfer the designed font to FontLab for adjusting the kerning. When copying and pasting the font into FontLab, it is important to ensure that the font is merged into a cohesive entity..png)
Fig. 6.0 Copying and pasting the letters into FontLab, week 11 (18/6/2023)
.png)
Fig. 6.1 Screen grab of character map, week 11 (18/6/2023)
Firstly, I list out all possible combinations of two letters or
punctuation marks to perform kerning. (refer to Fig. 6.2) Then,
I try typing out some words to ensure that the kerning is
correct. Following the principles of kerning simplifies the
process, rather than relying solely on intuition.
The principles for kerning are as follows (refer to further reading):
The principles for kerning are as follows (refer to further reading):
- Straight-to-straight letters require the most space.
- Straight-to-round letters and rounded letters require slightly less space.
-
Round-to-round
letters require less space than the previous two
cases.
Fig. 6.2 Letter kerning in FontLab - PDF, week 11 (20/6/2023)
.png)
Fig. 6.3 Words without kerning adjustments, week 11 (20/6/2023)
.png)
Fig. 6.4 Words with kerning adjustments, week 11 (20/6/2023)
.png)
Fig. 6.5 Sentences without kerning adjustments, week 11 (22/6/2023)
.png)
We need to export the font as OpenType TT and use it to create a
poster. I have designed several different poster layouts. Due
to the insufficient length of the sentences, there is a lot of blank
space left on the canvas. To fill the empty spaces, I have copied
and pasted some words and adjusted them to a light grey colour. The
sixth poster in Fig. 7.0 is my favourite, but it still requires some
further adjustments.
Fig. 7.0 Poster layout, week 11 (22/6/2023)
I find that adding a slight slant to the text can make the
composition more interesting. I continuously adjust the typeface
information in the middle row, even though I have aligned them and
applied a slight tilt, there is still a sense of misalignment.
Additionally, I experimented with adding texture, but I feel that
it may not be suitable for my poster design, so I reverted back to
the previous version.
Fig. 7.0 Poster layout, week 11 (22/6/2023)
Fig. 7.1 Process (1) of poster, week 12 (25/6/2023)
Fig. 7.1 Process (2) of poster, week 12 (25/6/2023)
Final Outcome
Font download: https://drive.google.com/file/d/143wRddIr4JahC2eXRPoWD9QIgX2Z29We/view?usp=drive_link
Font download: https://drive.google.com/file/d/143wRddIr4JahC2eXRPoWD9QIgX2Z29We/view?usp=drive_link
Fig. 7.2 Final typeface - JPEG, week 11 (22/6/2023)
Fig. 7.3 Final typeface - PDF, week 11 (22/6/2023)
.png)
Fig. 7.4 Metrics window with sentence in FontLab, week 11
(22/6/2023)
.png)
Fig. 7.5 Metrics window with sentence in FontLab, week
11 (22/6/2023)
Fig. 7.6 A4 poster - JPEG, week 12 (25/6/2023)
Fig. 7.7 A4 poster - PDF, week 12 (25/6/2023)
FEEDBACK
Week 12:
General Feedback: It is important to ensure that all
characters are set in the same point size. Additionally, the
letters you have created should all be displayed in the
sentence. It is necessary to note down the rules. The point
size of the typeface information should be formatted in a 12pt
font size. Lastly, it is advisable to avoid using a black
background underneath certain portions of the text, as it may
draw excessive attention.
Specific Feedback: Good work, Mr. Vinod suggested that
I align the sentence 'Flat HY, by Chong Hui Yi, 2023' on the
same horizontal line and tilting it at a 30-degree angle.
Week 11:
General Feedback: The letter 'Y' has a relatively low
connection point. The lowercase letter 't' is shorter on the left
side than on the right side. The exclamation mark symbol '!'
should have a wider top than bottom. First, set all left bearings
to 0, and then add the right bearing.
Specific Feedback: There are issues with the letter K,
where the top must be smaller than the bottom, as well as the
letters M, N, and Y, which can deviate from the usual conventions.
However, the letter R is in good shape. To address these concerns,
it is recommended to refer to suitable references, such as
sans-serif fonts like Optima or Stone Sans, which exhibit
appropriate contrast.
Week 10:
General Feedback: To achieve accurate letterforms with
consistent angles, focus on reusing vertical and horizontal
strokes. There are two types of curves (G & R, P) to consider.
Refer to calligraphic and handwritten references for guidance. If
you're stuck or unsure, looking at Google Fonts or other examples
can provide shortcuts. Use the smooth tool to remove unnecessary
anchor points and align anchor points for straighter lines.
Week 9:
General Feedback: It is important to keep in mind that
images can only be scaled up or down together, while maintaining
their original proportions. Additionally, the strokes of each
letter do not need to be redrawn continuously; they can be
duplicated and reused. It is recommended to complete all letters
first, then compare the strokes, and finally transform them into
shapes. Lastly, it is crucial to create backups by duplicating the
work regularly, ensuring that no progress is lost.
725-750 pt (ascender line)
700 pt (cap line)
500 pt (x-height)
0 pt (base line)
-225/-250 pt (descender line)
Week 8:
Specific Feedback: Mr. Vinod recommended that I choose the
second one. Although the fourth one does look elegant, it requires
some improvements.
REFLECTIONS
Experience:
I found this task to be quite lengthy, and I didn't anticipate
it taking so much time to complete Final Task 3. However,
creating my own typeface for the first time has been incredibly
fulfilling, despite the fact that there is still room for
improvement. This has been the most challenging task for me so
far.
Observation:
Since starting the font design process, I've noticed that I
frequently pay attention to the fonts and kerning used in
billboards, store names, and license plate letters. Fonts are
always present in our daily lives, yet I never really took the
time to understand them.
Findings:
Designing a font from scratch has made me realize how difficult
it is to create a good typeface, even with just these 11 letters
and 4 punctuation marks. It's a task that can drive you crazy. I
now have a greater appreciation for designers and their
patience, especially when it comes to kerning.
FURTHER READING
10 kerning tips for improving your typography
Fig. 8.0 Image taken from the article, week 11 (19/6/2023)
- Adjust leading and tracking first.
- Kern manually, don't rely on software.
- Create equal perceived space between letters.
- Understand letter shapes' relationships.
- View type upside down to focus on shapes.
- Kern in groups of three letters.
- Less is more; avoid over-kerning.
- Adapt kerning for different sizes.
- Watch out for challenging letter combinations.
- Practice regularly to improve.
A beginner’s guide to kerning like a designer
Fig. 8.1 Image taken from the article, week 11
(19/6/2023)
The article covers a lot of important knowledge about kerning, and I found the principles for letter spacing particularly helpful. Based on the combination of letter shapes, the principles for kerning are as follows:
The article covers a lot of important knowledge about kerning, and I found the principles for letter spacing particularly helpful. Based on the combination of letter shapes, the principles for kerning are as follows:
- Straight-to-straight letters require the most space.
- Straight-to-round letters and rounded letters require slightly less space.
- Round-to-round letters require less space than the previous two cases.
Fig. 8.2 Three types of shape combinations, week 11 (19/6/2023)
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