Typography Task 3: Type design and communication
Date: 4 June 2024- 22 July
Wang Zilong 0361141
Typography | Bachelor of Design in Creative Media | Taylor's University
Task 3: Type Design and Communication
INSTRUCTIONS
This is the Module Information Booklet for this module:
Task 3/ Type Dissection:
In this task, we were instructed to do a detailed dissection of the letters "H", "o", "b" and "g" by using Adobe Illustrator. We need to select a preferred font from teh 10 fonts provided. I choose Gill Sans and ITC New Baskerville.
Gill Sans:
Fig 2.1.1 "H" for Gill Sans
The letter "H" shows a symmetrical balance in Gill Sans font.
Fig 2.1.2 "o" for Gill Sans
The letter "o" is not designed to be a perfect circle. Left and right side of the circle is slightly stretched out. Besides that, the circle is not symmetrical, the right side is slightly thicker than the left side.
Fig 2.1.3 "g" for Gill Sans
The letter "g" shows a more complex dissection. The upper loop is stretched out horizontally. The stroke of the link is thinner in the upper connected part. The lower loop is a horizontally symmetric ellipse. The ear has the same thickness of the stroke.
Fig 2.1.4 "b" for Gill Sans
The bowl of the letter "b" is more curved in the upper part.
ITC New Baskerville:
Fig 2.1.5 "H" for ITC New Baskerville
The letter "H" shows a symmetrical balance in ITC New Baskerville font. The vertical stroke is much thicker than horizontal stroke. The arms are slightly curved instead of horizontal.
Fig 2.1.6 "o" for ITC New Baskerville
For the letter "o", strokes are significant thicker in left and right side. Same as Gill Sans font, it is not a perfect circle.
Fig 2.1.7 "g" for ITC New Baskerville
For the letter "g", the link shows a varies thickness of stroke. The ear has thinner stroke in the connected part.
Fig 2.1.8 "b" for ITC New Baskerville
For the letter "b", stroke that make up the bowl is thicker in the right part. The stem is vertical.
Task 3: Type design and communication
The process of designing a font begins with clarifying the goals and setting the style. Designers first need to clarify what scenarios the font will be used for (such as print, screen display, handwriting style, etc.), as well as the design style (modern, classical, decorative, etc.). These decisions will guide subsequent design choices. For me I started with the sketch.
Before formal design, designers usually conduct extensive research and inspiration. This includes studying existing typeface designs, historical typeface developments, and related art, culture, and design trends. The purpose of this stage is to inspire creativity and ensure that the new typeface design is unique and innovative.
I got the inspiration from the Gothic font and prepared the different types of the pens for each attempt, eg. fine-point pen and liner.I first followed the examples provided by the teacher to get a feel for the composition of the font and prepare for future digitisation.
Once the initial inspiration and direction are in place, I will start making sketches and basic structural designs. This is usually done manually, involving the outline of the letters, the thickness of the strokes, the spacing, and the adjustment of the overall visual balance. The designer will modify and refine the sketch many times until a satisfactory basic form is achieved.
When I got feedback from the lecturer and combined it with my own research, I finally came to the conclusion that I needed to make some simplifications and not make it too complicated, which ultimately made the entire character less concise.
Before I started to do the digitisation, I reviewed the feedback from the lecturer and combined it with my own research, I finally came to the conclusion that I needed to make some simplifications and not make it too complicated, which ultimately made the entire character less concise.
2.Digitisation
After the sketch is completed, I will digitize the font. This includes using professional font design software (such as FontLab, etc.) to convert the hand-drawn glyphs into editable vector form. In this process, the focus is on maintaining the overall consistency of the font, optimizing the details of the glyphs, and ensuring the readability and visual effects of the font at different sizes and resolutions.
On this basis, I also added some details to make each letter more visually beautiful.I also followed the reference sent by Mr vinod.
After completing the digitalisation, I would go through a rigorous adjustment and testing phase. This includes checking the font's proportions, spacing, consistency of stroke thickness, and the compatibility and aesthetic effects of specific glyphs under different glyph combinations. In addition, it is necessary to test the display of the font on different platforms and devices to ensure that the font performs well in various environments.
Import inside the fontlab
The first try of the font, I formed a sentence using the letters that I made.
"the gold stone shone in the lodge."
After received some suggestions from the lecturer, I mainly improved the letter d h i s and t.
The second attempt of the font testing
Black & white poster
In my opinion, a poster consists of the following parts: theme, font, color contrast, etc. I listed two of them, first of all, typography :The layout of the poster should be simple and clear, and the size, colour, and position of the font should be able to attract attention and convey information, applying the rule of thirds. You can try to use large fonts to highlight the theme or keywords, and small fonts for additional instructions or details. Moreover, considering the main colour for the poster is B&W,Use the contrast of black and white to enhance the visual effect. You can consider adding visual hierarchy by adjusting the font weight, italics, or other effects based on black background and white text or white background and black text.
Feedback
Week 9
At this stage, I focused on the preliminary design of the hand-drawn lettering. Through practical experience, I found that the design of hand-drawn fonts is not just about simply drawing letter shapes, but needs to consider the overall visual style and the coherence of the glyphs. What I observed was that the curves and proportions of each letter had a huge impact on the whole, requiring me to spend more time working on the details to ensure that each letter remained clear and beautiful when enlarged and reduced. What I have found is that being patient and constantly adjusting during the design process is key to getting the desired results.
Week 10
The digitalization and refinement stages allowed me to further understand the technical aspects of typeface design. After inputting the hand-drawn glyphs into a glyph design software, I discovered that each curve and node needed to be carefully adjusted to ensure the overall consistency and readability of the font. By observing the test print and screen display results, I noticed that some subtle curve adjustments can significantly improve the clarity and visual impact of the font at small font sizes and on different backgrounds. The lesson learned at this stage is that precise mathematical calculations and visual judgment are key factors in designing high-quality typefaces.
Week 11
During the week, I conducted preliminary tests of the font and gathered other's feedback. I gained valuable insights by observing how users understood and used my fonts. Some users pointed out difficulties with certain letters or characters, which prompted me to revisit and adjust the design of these parts. What I observed was that the importance of testing was to help me understand how the font would behave in different texts and environments, providing guidance for improving the final version.
Week 12
At this stage I worked on expanding the font's character set and creating different stylistic variants. By adding special characters, numbers, and punctuation, I made the font more useful and usable. What I observed is that the creation of different weights and italicized versions made my typeface more flexible and adaptable to different design needs. What I have found is that careful work is crucial when it comes to font extensions, which enhance the functionality of the font and meet the diverse needs of users.
Week 13
During the week, I made final tweaks and optimizations to ensure the font displayed consistently across a variety of platforms and devices. By observing the effect at different display resolutions and print qualities, I made final adjustments to ensure the font's visual impact and readability were optimal. The lesson I learned is that in the final stages of detail work and repeated testing, I can ensure the quality and expressiveness of the fonts so that they are fully ready for real-world application.
The experiences and discoveries at each stage provided me with the opportunity to continue to progress and improve, allowing me to create a typeface that was both beautiful and functional, and to successfully use it in real-world projects such as designing posters.
Further reading
The Elements of Typographic Style is a classic book written by Canadian designer Robert Bringhurst, which is known as an authoritative guide to the art of modern typography. The following are the reading notes on fonts in the book:
Principles of font selection
In the book, Bringhurst emphasizes the importance of font selection and puts forward several guiding principles:
Balance between functionality and aesthetics: Fonts are not only for beauty, but more importantly, they should serve the content and intention of the text. He advises designers to consider their functionality when choosing fonts, such as clarity, readability, and cultural adaptability.
History and tradition: Bringhurst emphasizes the importance of understanding the history and tradition of fonts. He believes that understanding the historical and cultural background behind fonts can help designers better select and apply fonts with profound cultural and visual expressions.
Principles of type design: The book details the basic principles of font design, including technical content such as the proportion, spacing, and stroke structure of the glyphs. Bringhurst shows how to choose the right font according to the needs of the text by analyzing and comparing different type families.
Visual and Technical Expression of Fonts
Brinks discusses the visual and technical expression of fonts in depth:
Visual effect: He emphasizes the visual performance of fonts in different sizes and media, and how to optimize their visual effects by fine-tuning the details of the fonts to achieve the best reading experience.
Technical implementation: The book provides practical suggestions on how to implement font selection in actual design, including font typesetting techniques, punctuation processing, and font testing and adjustment methods on different output devices.
Summary and reflection
By reading "The Elements of Typographic Style", I deeply appreciate the core position of font selection and design in the art of typography. Brinks's book not only emphasizes technical details, but also provides a deep understanding of font aesthetics and cultural background. This book is not only a technical guide to font design, but also an important work that guides designers to think and explore the depth of font art. It not only enriches my design vision, but also enhances my understanding of the role of fonts in conveying information and aesthetic value, and provides valuable guidance and inspiration for my future design work.
Reflection
Over the course of a semester dedicated to studying typography, I have delved deep into the art and science of arranging type to make written language readable, legible, and appealing. This journey has been both enlightening and enriching, providing me with a newfound appreciation for the subtle yet profound impact typography has on communication and design.
Understanding the Fundamentals
Initially, I approached typography as merely choosing fonts for aesthetic purposes. However, as I progressed through the semester, I realized that typography encompasses far more than just selecting typefaces. It involves understanding the historical evolution of type, grasping the technical aspects of type design, and mastering the principles of layout and composition. Learning about serif and sans-serif typefaces, exploring the anatomy of letterforms, and experimenting with different font families opened my eyes to the meticulous craftsmanship behind effective typography.
Appreciating the Artistry
Typography is not merely a functional aspect of design; it is an art form that requires creativity and attention to detail. Through assignments and projects, I discovered the beauty in meticulously kerning letter pairs, balancing line spacing, and harmonizing typographic elements to create visually engaging compositions. I found myself captivated by the subtle nuances that can transform a block of text into a cohesive and visually appealing piece of communication.
Challenges and Growth
While studying typography, I encountered challenges such as grasping complex typographic terminology and mastering software tools for precise type manipulation. Yet, overcoming these challenges was immensely rewarding. Each assignment pushed me to refine my typographic skills and develop a critical eye for typography in everyday design.
Impact on Design Practice
The knowledge gained from studying typography has profoundly influenced my approach to design. I now approach every design project with a heightened awareness of typography’s role in conveying tone, mood, and hierarchy. Whether designing a poster, a website interface, or a publication layout, I am more deliberate in selecting typefaces that not only complement the content but also enhance its readability and visual impact.
Personal Reflection
Personally, studying typography has been a journey of self-discovery and growth. It has taught me patience in refining details, the importance of research and context in type selection, and the joy of creating harmonious visual compositions. More importantly, it has instilled in me a deeper appreciation for the craftsmanship and artistry involved in typography.
Conclusion
In conclusion, studying typography for a semester has been a transformative experience. It has equipped me with foundational skills and knowledge that will continue to shape my design practice. Typography, with its blend of technical precision and artistic expression, has captured my imagination and inspired me to pursue excellence in visual communication. I look forward to applying what I have learned to future design projects, confident in the belief that typography will always be at the heart of compelling and effective design.
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