12.06.2024 - 24.07.2024 (Week 8-Week 14)
Ruthlene Chua Zhen Si 0365222
Bachelor of Design (Honours) in Creative Media - Advanced Typography
Task 3
- Instruction
- Class Summary
- Task
- Feedback
- Reflections
- Further reading
INSTRUCTION
CLASS SUMMARY
Week 8: This week Mr. Vinod held an online class section on the approval for task 3.
Week 9: This week is independent study week, Mr. Vinod held an online feedback section for task 3, to let us get approval for our work and be ready for it.
Week 10: Mr. Vinod gave us extra online classes and gave us feedback for our uppercase letter, let us make improvements and adjustments.
Week 11: (Absent) This week was held physically, getting feedback and making deep adjustments on the details of uppercase letters.
Week 12: Extra adjustment on the wordings and font, convert it into font lab 7.
Week 13: (Absent) This week Mr. Vinod gave us advice on the details while making the font applications.
Week 14: Overall feedback for the portfolio, last adjustment.
Week 9
For this particular task, we are required to develop a font in upper case, lower case, numerals and punctuation. There are three ways to do this assignment:
Create a Font for Problem-Solving: Design a font (.ttf) that solves a problem or contributes to a solution in areas like graphic design, animation, new media, entertainment design, or related fields.
OR
Improve an Existing Letterform: Take an existing letterform in your area of interest, find ways to improve it, and create a refined or enhanced font (.ttf).
OR
Do a Typographic Experiment: Try a new and unique experiment with typography. This could involve 3D materials, digital elements, or other unusual ideas. Define the final outcome.
TASK 3: Approval for Task 3 Topic ( 12/05/2024 ）
For this particular week, we are required to make an presentation by using google slides. From the slides below, I chose the first idea and expanded on it. The aim is to update the letterform to reflect modern design trends, ensuring the logotype remains timeless. Additionally, I want to include elements that symbolize creativity, innovation, and global collaboration.
After done deciding which idea to choose from, I started to look for references. According to Mr. Vinod, would suggest me to go through and explore the work of Wim Crouwel, who created interesting, futuristic typefaces with a distinct geometric style. These are the works that I make as a reference:
Throughout the design, I claim that making font brings the feel of futuristic, making appropriate space between letters will help to do so. Furthermore, the weight between letters should be considerably the same. As an assistance, the font base basic requirements should help with the issue.
Figure 1.0: Side bearing measurement list
Figure 1.1: Font references by Wim Crouwel
Figure 1.2: Font references by Wim Crouwel
Figure 1.3: Font references by Wim Crouwel
Figure 1.4: Font references by Wim Crouwel
These are the sketches I drew. I use graph paper to make sure the sizes, weights, and positions are the same. Starting from the left: Uppercase (OLEDSNC), there are some letter should be design first to put all the letters into order.
I did a research on it and this is what I found as a brief explanation:
Start by using H, O, n, and 0 for alignment, stems, hairlines, proportions, and spacing. Then, add A, B, E, G, M, a, b, c, e, g, 2, and 4 to define design specifics for the rest of the font. The other glyphs will follow from there. For a Latin type design:
- Lowercase: i, n, l, h, m, o
- Uppercase: I, H, O
These establish key proportions and standard features such as terminals, arches, and stroke modulation. Then, focus on either the distinctive letters (a, c, e, g, s) or the bowl letters (b, d, p, q), depending on whether if I want to emphasize the character of the design or the proportions.
Figure 1.5: Rough sketches of the uppercase letterforms
After that, I digitized all the uppercase letterforms from the letter A to Z by using Adobe Illustrator. Grids were the most useful tool in this creation, they helped me to make sure the weight and length sizes were the same, strong structures are recommended and must be built before creating any type of letter.
Figure 1.6: Uppercase letter digitized
Mr. Vinod provided several feedbacks for the uppercase letter, he emphasized key aspects of typographic design, noting that sharp diagonals in letters like c, a, e, and f can affect readability. Inconsistencies in stroke thickness, especially in letters like w, and incorrect curvatures in letters such as c, a, g, d, q, and o were also discussed. The lecturer recommended simplifying designs to improve clarity and functionality. Therefore, I make some changes to the previous letters, especially the letters I,J,M,P,Q,R,S,T,U,V,W,X, and Z.
To keep up with the speed for this assignment, I create the punctuations and numbers together.
Figure 1.7: Uppercase letter digitized
My lowercase letters, which I had made in the meantime, don't seem to go well with this font type. It's not very appealing. I attempted to reproduce it in a different method, but the letterforms I made especially for this typeface aren't appropriate to display in lowercase.
Figure 1.8: Uppercase, lowercase, numbers, and punctuation letter digitized
I attempted to use Font Lab 7 to mimic the presentation, but sadly it was unsuccessful.
Figure 1.9: Lowercase letterforms in Font Lab 7
These are the uppercase letters that I have digitized and converted to Font Lab 7.
Figure 2.0: Uppercase letterforms in Font Lab 7
Then I adjusted the kerning and spacing between each letter, numbers and punctuation.
Figure 2.1: Kerning adjustment for the numbers
Figure 2.2: Kerning adjustment for the uppercase letters
Figure 2.3: Done with the kerning adjustment
For the next section, we are required to complete font presentations (5 artworks; 1024px 1024px, 300ppi):
These are the color pallets that I try to use, which helps to show futuristic energy :
Figure 2.4: Color Pallet
First artwork:
Figure 2.5: Artwork for font presentation
Second artwork:
Figure 2.6: Artwork for font presentation
Third artwork:
Figure 2.7: Artwork for font presentation
Forth artwork:
Figure 2.8: Artwork for font presentation
Fifth artwork:
Figure 2.9: Artwork for font presentation
For this particular artwork, I think the structure and layout are not appealing and seem complex, therefore I made a new artwork to replace it.
Figure 3.0: Artwork that needs to be redone
This is the new artwork that I came out with, my purpose for this artwork is to make it simple and easy to read.
Figure 3.1: New artwork
Fonts in black and white version:
Figure 3.2: Black version of font
I decided to sketch up a technological object, like the phone below, to highlight my goal and convey the meaning associated with the phrases I wrote.
Figure 3.3: Phone case to mockup
In addition, the element's multitude of numbers gave it a modern, technological sense that went perfectly with the phone cover.
Figure 3.4: Phone case pattern
Mockup result:
Figure 3.5: Phone case
Next, I created a simple artwork to complement the business card. The purpose of using this font for the business card is to convey professionalism, seriousness, and clarity to the users.
Figure 3.7: Rough color sketch for the business card
Mockup results:
Figure 3.8: Business card
These are the pictures that I found through Freepic, it was a picture of a future city, and I plan to use it on one of the artworks to represent futuristic energy.
Figure 3.9: Future City
I changed the color and crop the background out from the picture, making it closer and similar to the color pallet that I chose for this 5 particular artwork.
Figure 4.0: Photoshop the future city figure
This is what it looks like after all the adjustments.
Figure 4.1: Color changing on figure
My plan was to combine the wording that shows futuristic energy, therefore I tried layouts several effects and layout and applied them.
Figure 4.2: Process of combining wording to the figure
I found out that the previous figure makes the wording hard to read so I made a little adjustment to it and came out with the effect below.
Figure 4.3: Process of changing the placement of wording
I tried to apply it on a person who was wearing some sort of space helmet to bring out a high sense of sensory feeling but it turned out not too good and suitable. Therefore, I make up new artwork and applied the figure which I edited into the artwork.
Figure 4.4: Mockup-ing the hoodie
Adjustments and failures:
Figure 4.5: Mockup-ing the hoodie
Therefore, I used the image and combined it with the letters that I created and came out with a public poster.
Figure 4.6: Future city (after effects)
Poster of futuristic feels:
Figure 4.7: Poster
As for the next artwork, my plan is to have a great show of words combined with society. To do so, I found a simple and classic background and combine a robot together with the words.
Figure 4.8: Futuristic background
Figure 4.9: Robot
This is the outcome:
Figure 5.0: Signboard/ Ad Board
Finally, when it comes to technology, one of the best creations ever made is the robot. To demonstrate and entice the audience, I decided to make up an uppercase robot. Before applying the letters to the robot, I tried to change the perspective and angles of the view, since it was a side angle.
Figure 5.1: Changing and designing the elements of mockup
And this is what the finals looks like:
Figure 5.2: Robot
The 5 finals font application artworks:
Figure 5.3: Poster
Figure 5.4: Robot
Figure 5.5: Phone case
Figure 5.6: Business card/ Name card
Figure 5.7: Signboard / Ad Board
Figure 5.8: Font Information
Figure 5.9: Final Compilation (pdf)
FEEDBACK
Week 8 - Not an official class (Task 3 topics approved)
Specific Feedback: -
General Feedback: If we notice that we're short on confidence or time and can't work quickly enough to finish by week 12, sir recommend sticking to a simple uni-case font.
Week 9 - Online class (Task 3 topics approved)
Specific Feedback: The lettering in the movie is iconic and widely loved, with many people attempting to recreate it. Instead of replicating it exactly, analyzing its essence and creating a unique or improved version might be more beneficial. Drawing inspiration from the original font, you could develop a new typeface. For guidance, consider exploring the work of Wim Crouwel, who created interesting, futuristic typefaces with a distinct geometric style. An intriguing approach could be to take just one letter from the original movie lettering, like from "TRON," and design the rest of the alphabet based on that letter's characteristics.
General Feedback: When creating a letterform, having a structured background is crucial to maintain consistency. This grid structure doesn't need to consist solely of straight vertical and horizontal lines; it can include curves, zigzag lines, and various other shapes, even with gaps. Additionally, always develop letterforms based on their categories. Start with a grid structure and use letters like O, H, or A to establish the basic elements of your design.
Week 10 - Online Class (Uppercase letter )
Specific Feedback: The lecture emphasized the critical aspects of typographic letterform design, highlighting issues with sharp diagonal elements in letters like c, a, e, f that could affect readability and distinctiveness. There was also discussion about inconsistencies in stroke thickness, particularly noticeable in letters such as w, and the incorrect curvatures of letters like c, a, g, d, q, o. The lecturer advised against overcomplicating designs, advocating for simplification to enhance the clarity and functionality of the letterforms.
General Feedback: Create a grid line, before creating the wording, it is a must to have a structure to have the same weight of wording and similarity.
Week 11 - Adjustment on Uppercase letter (absent)
General/Specific: None
Week 12 - Get ready for presentation
General Feedback: Prepare for the presentation, and choose the right color pallet.
Week 13 - Adjustment on font application (absent)
General/Specific: None
Week 14 - Checking for portfolios
Specific Feedback:
General Feedback:
FURTHER READING 
Figure 5.9: Tittle of the book_Typography Playbook
- Key Principles
- Grasping typographic principles is essential for effective design.
- Hierarchy helps organize text by importance using size, weight, color, and position, guiding readers through content. A clear type scale (H1–H6, body copy) ensures consistency across formats. Line length should be between 45 and 90 characters for better readability.
- Line height should be 1.2 to 1.4 times the font size, and the baseline aligns text vertically for a uniform flow. Grids help align elements and maintain structure.
Figure 5.9: Line Height
Tracking adjusts character spacing to improve readability and style. Small caps can replace bold or italic for emphasis, and drop caps add visual interest. Ligatures and kerning enhance text flow and balance, especially in custom designs. Exploring typeface alternates and proper character usage, like typographic quotes and dashes, is also key. Typewolf’s cheat sheet is a great resource for character usage.
- Core Typeface Collections
- Having a range of typefaces is crucial. For sans serifs, consider Univers, Interstate, Gotham, Futura, Helvetica Neue, Avenir, DIN, Avant Garde, Frutiger, and others. Serif options include Chronicle, Tiempos, Bodoni, Garamond, Minion Pro, and more. For display and headlines, Timmons NY, Blakey Slab, and Trajan are impactful. Free fonts from Google Fonts, like Karla, Lato, and Montserrat, are also great choices.
Examples of free fonts:
Figure 6.0: Free fonts
- Application
- Mastering type pairing is vital. This guide provides practical examples and samples for combining typefaces effectively, along with links to full font families and web licenses. It's designed to help both digital and product designers apply typography in a practical, visually appealing way.
Figure 6.1: Appealing website/ poster/ layout
REFLECTIONS
Experience
This semester was a transformative journey in typeface design. Starting with the approval of our Task 3 ideas in Week 8, I navigated through independent study and multiple online feedback sessions that were crucial for refining my uppercase letter designs. The hands-on experience of using Adobe Illustrator and FontLab 7, combined with feedback on elements like stroke thickness and curvature, significantly shaped my approach.
Observation
Throughout the semester, I observed the pivotal role of consistent and detailed feedback in enhancing design quality. Feedback emphasized balancing creativity with readability and functionality. The independent study week highlighted the necessity of self-discipline and proactive research, with influences from designers like Wim Crouwel informing my approach to futuristic typefaces. Using tools like grid structures and alignment techniques in Adobe Illustrator underscored the technical precision required in typeface design, while the transition to FontLab 7 illustrated the importance of adapting to new software for final adjustments.
Findings
The semester revealed several key findings that enriched my understanding of typography. Ensuring design consistency through uniform weight, spacing, and structural elements across all letters was crucial for achieving a balanced typeface. Simplifying designs to enhance clarity without compromising functionality proved to be a valuable lesson, as overly complex designs can detract from readability. Additionally, mastering core typographic principles such as hierarchy, line length, and line height is essential for effective design. Practical applications of my typeface in mockups like phone cases, business cards, and posters demonstrated the real-world viability of my work, providing a comprehensive understanding of typeface functionality in various contexts.
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