Typography Task 3: Type Design and Communication Week8 - Week 13 (14/11/2023-19/12/2023 )

14.11.2023 - 19.12.2023 

Ruthlene Chua Zhen Si 0365222 

Bachelor of Design (Honours) in Creative Media -Typography

Task 3: Type Design and Communication

• Lecture 
• Instructions
• Class Summary
• Task 3 Exercises
• Feedback
• Reflections
• Further Reading

---

LECTURE (SUMMARIES VIDEO)

REFER TO TASK (1)

REFER TO TASK (2)

---

INSTRUCTIONS 

<iframe src="https://drive.google.com/file/d/1P1-N-eCTO_nkCLQU0XI8iIPDiF31034k/preview" width="640" height="480" allow="autoplay"></iframe>

---

CLASS SUMMARY 

Week 8: -Independent study week-

Week 9: We are told to select a preferred font from the 10 fonts provided by using the " H,o,g,b" letters. Then create sketches for our own letter font design with different pens. 

Week 10: Get feedback, digitize the final selected letter design. Make improvement and get instant feedback from the lectures. 

Week 11: Upload the final digitization font to Facebook get feedbacks and ready to finalize the final task 3 exercise. 

Week 12: Create a sentence, phrase of words in a BW A4 poster and get feedbacks from the lectures.

Week 13: Final adjustment of the BW A4 poster and develop own e-portfolio for the upcoming submission. 

---

Week 8 (14/11/2023) : Learn the concept of each letters and font family

• We are told to select a preferred font from the 10 fonts provided by using the " H,o,g,b" letters. Then do a detail dissection of the provided letters.
• Observations : Futura is a partly upright typeface design, in my opinion. Also, the geometric form of the letters makes them appear clear, contemporary, and simple to read on a variety of media.

Figure 1.a : Word tracing using ai (Futura font)

•  Create sketch for the following letters ODHNG / odhng ((choose: uppercase/lowercase) by using 3 types of pens and explore 3 different writing styles for each of the 3 pens.

Figure 1.b : 3 Sketches by using broad edge nib pen

Figure 1.c : 3 Sketches by using calligraphy pen

Figure 1.d : 3 Sketches by using rounded nib pen

Week 9 (21/11/2023) : Creating NEW Letter Font Design

• Reference 1 : Cooper Black Font
• It is a warm and welcoming face because of the rounded and blunt shapes, blurred serifs, and tiny counters. More than anything else, its blackness draws attention to Cooper Black.

Figure 1.e : Cooper Black Font Family

• Reference 2 : Citylight dots font
• It is a font made of pixels that has dots grouped in a manner that looks like an LED display or digital clock. Due to their unique styles, each character is easily recognized despite being composed of a grid of dots.

Figure 1.f : Citylight Dots Font Family

• The new typeface design shares the same feature, with each letter having a thicker and darker beginning and finish. The blunt and rounded outlines are improved upon to create the diamond, a more attractive emblem. 
• Write all the letters (o l e d s n c h t i g , . ! #) in the approved style and digitize.

Figure 1.g: Sketches of the new typeface design

• Deciding the final font design: 

Figure 1.h: Final font design before digitizing

Week 10 (30/11/2023) : Letter Digitizing 

• Digitizing
• Before digitizing the letters, ascender line, cap line, median line , baseline and descender line are need too be list and allocation on the right position. 
• Make sure art box is at 1,000 points and the letters fits between them
• X-Height generally speaking is about 500 points ( but it is not necessary ) 

Figure 1.i: Locate the auxiliary line on the right layer

Week 11 (7/12/2023) : Combine all the shapes to form the specific letters and used the remaining letters to form a word

• Combine all the shapes ( creating using pen tool, width tool and shapes )

Figure 1.j: Combine all the shapes to form a letter

• First Version : To produce a better change, get input. The letter "S" is not aligned straight and in the middle. The size and weight of each diamond piece varies correspondingly. Make adjustments to the curves and lines of a few letters to make them more harmonious and sociable with one another. I was suggested to use the letter "O" as the first and main references to came out the other letters which has curves such as "D" ,"G", "S".

Figure 1.k: First Version of the Font Design

Figure 1.l: Sketches for the letter "S"

• Final Version after several adjustment :

Figure 1.m: Final Version

• Creating words using the new font that we create:

Figure 1.n: First version of creating words

• Make some improvement and align them according the baseline and the ascender line:

Figure 1.o: Second version of creating words

Week 12 (14/12/2023) : Upload the font to Font Lab 7 

• This are the words that have been uploaded to the FontLab 7 for further adjustment and development. (OLEDSNCHTIG!,.#)
• I gave the typeface the name "Dia Font" since it has many diamond-shaped elements and has grown to be recognizable. Día is the abbreviation for diamond.
• In order to ensure that no anchor points are very close to one another, merge the letter aligned to the left of the line.
• Enter the guideline, measurement in the font info. 
• Make sure all font are correctly align in the right X-Height and Baseline. 

Figure 1.p: Source that have been uploaded to the FontLab 7

• To get a more tidier appearance, we are instructed to modify the letter's kerning. 

Figure 1.q: Kerning the letters (screen gab)

Week 13 (21/12/2023) : Create a BW A4 poster by using the digitized font 

• We are told to came out a BW A4 poster by using our own digitized font. We are given some examples during class and suggested to not complicate the poster with unnecessary effect, simple and nice should be good enough. Therefore, I use the letter "O" and "#" as the vital finishing touches on both of the poster. 
• Download the font here : https://drive.google.com/drive/folders/1xgyOwXGMAR2vnl5hZsIeN5W_4h37ywV9?usp=sharing

Figure 1.r: Dia Font (jpg)

 

Figure 1.s: Dia Font (pdf)

Figure 1.t : First composition of poster (jpg)

Figure 1.u: First composition of poster (pdf)

Figure 1.v : Second composition of poster (jpg)

Figure 1.w : Second composition of poster (pdf)

---

FEEDBACK

Week 8 - None-

Week 9 - Sketches for own letters

Specific Feedback: It was told the design was nice and unique sketches, perhaps we can align the opening and closing elements of the text more in a vertical way.

General Feedback: I need to make sure everything is align and discover more unique way to show a word.

Week 10 - Letter digitization 

Specific Feedback: Lectures say to give it a try to align the diamonds element on the same horizontal and vertical places on each words. Give attention on every element in order they are in a same size, weight and position.  

General Feedback: Stick to the idea that I'm going for and develop them with same elements, size, style and weight. 

Week 11 - Combine letters to form a new word by using the font that have been created

Specific Feedback: Align the letter on the baseline precisely, make sure every gab between letter are in the same length and spaces. 

General Feedback: Get more into details, neglect to place all the letters align to the baseline, should put more effort and be more attentive. 

Week 12 - Digitized the font and upload it to the Font Lab 7

Specific Feedback: The gab between all letter font should remain the same gab. As for the punctuation mark and hashtag, they are a little heavy, might consider the weight of  it lighter.

General Feedback: Make changes, get better improvement. Watch the tutorial videos, take notes and get deeper understanding of each details.

Week 13 - Create a sentence/phrase/words in a BW A4 poster by using the digitized font 

Specific Feedback: Keep decorative effects or word editing to a minimum; a clean typeset would captivate readers more and foster a deeper comprehension. 

General Feedback: When designing the poster, one must consider the supplementary impact, select the most essential addition, and avoid using too many or complicated features. 

---

REFLECTIONS

Experience: Using AI to create a new letter typeface is really difficult. It requires close attention to details, including components, space, alignment, and design styles. Therefore, to build a typical clean letter font, one must have an advanced understanding of font construction. Must have a deep understanding of the baseline, median, X-height, ascender height, cap height and descender height of every single letters.

Observation: A new letter font's creation wasn't without its technological difficulties. A thorough approach and attention to detail were required for the procedure, which included mastering software tools and assuring uniformity between characters. Reflecting on the sources that influenced my design choices, I realized the importance of diversity in inspiration. Whether it was nature, architecture, or historical typography, each element contributed to the unique identity of the font. I learn that kerning is mostly important to a letter, it is the adjustment of space between individual characters. It enhances visual appeal by creating balanced and professional-looking text, improves readability by ensuring proper spacing between letters and also helps avoid misinterpretation or alternation of words. Fosters precision in typography, emphasizing the importance of meticulous design for a polished final product.

Findings: Beyond the artistic and technical elements, the process of developing a new letter typeface served as a springboard for personal development. It made me question my assumptions, pushed me outside of my comfort zone, and fostered a closer relationship with my creative intuition. Creating a font often gives a newfound appreciation for the craftsmanship behind existing typefaces. Understanding the effort that goes into professional font design can deepen my respect for well-crafted fonts. Completing a font design project is a significant personal achievement. Seeing my own custom font in use can be immensely rewarding and validating.

---

FURTHER READING 

Figure 1.a : Cover of the Book ( Butterick's Practical Typography. by- Matthew Butterick)

When I started my second task, I decided to read this book since I was curious about its contents. I shall thus read the book again and provide an additional reading summary on a different subject.

MIXING FONTS

• The art of mixing fonts 
• In a document is akin to combining patterns in clothing—while there are no fixed rules, there are guiding principles to consider. 
• It's crucial to recognize that mixing fonts is an option, not a necessity; utilizing variations within a single font (such as different point sizes or styles like bold or italic, can yield ample variation without needing multiple font) 

• Understanding the rule of diminishing returns is essential
• While most documents can accommodate a second font, few can handle a third, and very few can manage four or more. 
• Each font choice should have a distinct purpose and role within the document.
• Lower contrast between fonts can often be more effective than high contrast, and the notion that only serif and sans serif fonts can be combined is a misconception (various font types can harmonize effectively)

• Successful font mixing 
• This occurs when each font serves a consistent role, such as one font for body text and another for headings. 
• Employing different fonts for distinct document elements, like central content versus peripheral details, or within bulleted lists, can create organizational harmony.

• Conclusion: It's generally advised to limit font changes within a paragraph and opt for one font per paragraph while changing fonts at paragraph breaks, maintaining readability and visual consistency. Although not a strict rule, combining fonts by the same designer often yields reliable and harmonious results, ensuring cohesive pairings that complement each other aesthetically.

SMALL CAPS

• Small caps are abbreviated capital letters designed to harmonize with lowercase text, typically slightly taller than lowercase letters. They offer an appealing alternative to bold or italic formatting.

Figure 1.b :Examples of fake small caps and real small caps

• It may have only encountered artificial small caps generated by word processors and web browsers.
•  Genuine small caps differ significantly in height and stroke weight from their fake counterparts, contributing to better visual integration with normal uppercase and lowercase letters.

• Guidelines for small caps include refraining from using the small-cap formatting option in word processors, as it produces substandard imitations even with fonts that include real small caps. Similar to all caps, small caps should be used sparingly, with added letterspacing and enabled kerning for better readability.

• Authentic small caps often require purchasing separate font files or accessing them as an OpenType feature within fonts. Utilizing paragraph and character styles streamlines the application of small caps.

• Regarding capitalization with small caps, it's a matter of preference whether to begin capitalized words with regular capital letters.

Figure 1.c :Spartan MB Font

• Some font packages, like those provided by the author (Spartan mb fonts), offer pre-spaced small caps fonts, simplifying usage across various programs, including those lacking OpenType support or letterspacing capabilities. 
• The CSS property font-variant: small-caps has become reliable, accessing OpenType small caps within fonts or resorting to traditional counterfeits if genuine small caps are absent.

BOLD OR ITALIC

Figure 1.d : The differences between bold and italic

• When it comes to employing bold or italic formatting, adhering to certain guidelines ensures effective typographic emphasis.

• The primary rule is to regard bold and italic styles as mutually exclusive
• Each serves as a tool for emphasis, and using both concurrently diminishes their impact.
•  Overusing bold and italic text strains readability, making them suitable for short segments but less advisable for extended passages.

Figure 1.e : Roman Italic

• Text that lacks bold or italic styling is termed "roman."
• Recommended to use bold or italic sparingly, ensuring that excessive emphasis does not fatigue readers. 
• Writers who excessively emphasize text risk diminishing the impact of true emphasis when needed.

Figure 1.f : Differences of serif and sans serif font

• Understanding serif and sans serif fonts is essential. 
• Serif fonts like Georgia employ italic for gentle emphasis and bold for heavier emphasis.
•  With sans serif fonts like Helvetica, italicizing is generally less effective, so bold is preferable for emphasis.

• Foreign words in English may or may not be italicized, depending on their common usage.
• Why? :
• Punctuation adjacent to emphasized text typically remains in standard roman formatting to avoid readability issues, although exceptions may apply to prevent clashes between italicized text and nearby punctuation.

• To avoid an overemphasis "arms race," consider alternatives like all caps or small caps for emphasis. 
• Some fonts offer variations beyond bold, such as semibold or heavier weights like black or ultra, which can be used for emphasis at larger sizes, like headlines.
• Cautious: It might not work well for body text sizes.

ALL CAPS

Figure 1.g : Varied and Rectangular 

• Utilizing all-capitalized text should be done sparingly, as lowercase text is typically easier to read due to its greater familiarity and varied shapes, which aid in word recognition. 
• While uppercase letters are suitable for headings, headers, footers, and small-sized text, it's crucial to add letterspacing and enable kerning for enhanced readability. 
• Overuse of all caps, especially in whole paragraphs, originated with lawyers aiming to communicate authority but often results in reader fatigue and decreased interest.

• The terms "uppercase" and "lowercase" originate from traditional print shops, where capital letters were stored above the minuscule letters. 
• Paragraphs set in all caps diminish readability and should be avoided as they deter readers' attention from important information. 
• Instead of capitalizing entire paragraphs, employing alternative methods (using rules, borders, larger font sizes, or labels can effectively emphasize text without compromising readability)

• There are two methods of applying capitalization: 
• The common method involving the caps-lock key
• The preferred method of applying all-cap formatting to typed text, allowing toggling between cases without retyping the content itself.

Figure 1.h : The before and after OpenType features

• Professional fonts often include alternate figures and punctuation that align correctly with caps, available as OpenType features. 
• While caps might be seen in legal documents due to beliefs about contract laws requiring "conspicuous" text, legal interpretations and court rulings suggest that formatting alone doesn't guarantee conspicuousness.

EMOTIONS & EMOJI

Figure 1.i : Emoticon

• Emoticons, created using punctuation characters, serve as shorthand expressions conveying emotions or intentions in digital communication since their inception in 1982. 

Figure 1.j : Japanese symbols

• While they've been largely replaced by emoji, which are pictorial characters serving the same purpose, newer forms like kaomoji utilize longer combinations of characters, such as Japanese symbols.

• Initially dismissive of emoticons due to their perceived informality, the writer later embraced them, realizing their utility in preventing misunderstandings, especially in correspondence with strangers.

• Caution advised against their excessive use in formal or professional contexts, similar to the overuse of other punctuation marks. 

• Variations in emoji representation across devices and platforms can lead to interpretation differences.

PARENTHESES, BRACKETS, AND BRACES

Figure 1.k : Parentheses, brackets, braces

• Citations and other asides should be placed outside of the body text, enclosed in parenthesis. Changes in the quoted text are indicated by brackets. 

Figure 1.l : The right and wrong way of adopting the formatting of the surrounded material

• Cautious: These marks should not adopt the formatting of the surrounded material.

Figure 1.j : The better way to put the parentheses 

• An italic character will collide with a roman parenthesis. In that case, it’s fine to italicize the parentheses

Reading Matthew Butterick's "Practical Typography" has empowered and educated me. I tend to feel more knowledgeable and confident in their typographic abilities after reading this book because of its insightful and straightforward explanations of typography principles and helpful tips for utilizing type successfully. It improved my understanding of how to use typographic components in writing, design and typesetting. I'm glad that i have a greater understanding of typography after reading this book.