Typography - Task 3 (A)

24.5.2021- 11.6.2021 (Week 9 - Week 11)
Rusydina Fazlin Athirah / 0344000 / Bachelor's in Creative Media
Typography
Task 3

Lectures/Class Sessions 

All Lectures Completed. Refer to 'Task 1':

https://athirahfauzi02.blogspot.com/2021/03/typography-task-1_30.html

INSTRUCTIONS


<iframe src="https://drive.google.com/file/d/11qVLNnN2LpPQhnxFCD__qbrE3F2rhOKU/preview" width="640" height="480"></iframe>

Task 3 (A)

Research: 
May 11th, 2021
-

For this week's task 3, Mr. Vinod guided the class along with a few demonstrations done by Mr. Vinod and Mr. Shamsul on making our own fonts and how to start it out. He suggested the kind of fonts that we can take inspiration from are the fonts provided by Mr. Vinod 

Figure 1.1.1 - Typefaces provided by Mr. Vinod



-or other kinds of fonts that we think are good for 'deconstruction' to design our own from.

Before the dissection of letters, Mr. Vinod demonstrated in class determining the x-height of each letter from the baseline to the cap line with the assistance of the letters T, Y, and D.


Figure 1.1.2- Anatomy of characters 

I wanted to make sure I understood everything from the ascender line all the way down to the descender with the letters shown above. It was a good practice on remembering each of the lines' names, carrying out this demonstration that was demoed by Mr. Vinod during classes.

Dissecting of the letter:

Going into dissecting a few letters, I had to choose one typeface that I could implement their anatomical features into mine as inspiration. I decided to go with the 'Bembo Std' typeface and start dissecting the letters 'O', 'H', 'T', and 'A'. 



Figure 1.1.3 - Deconstruction of Bembo Std 'O' font

Figure 1.1.4 - Deconstruction of Bembo Std 'H' font


Figure 1.1.5 - Deconstruction of Bembo Std 't' font

Figure 1.1.6 - Deconstruction of Bembo Std 'a' font

Deconstruction of the letters plays an important role in furthering research and being able to develop sketches for my own fonts of a closely related referenced design typeface that I chose. Which is the typeface 'Bembo Std'.

Sketches:

After doing a few observations on the letters and deconstructing them for further analysis. Moving into sketching, these are the letters and a few characters that will be designed:
a i m e p y t g d o b ! , .

Figure 1.1.7 - 3 sketches attempts, May 24th, 2021

I didn't exactly have a plan when sketching out the kinds of designs I wanted to implement in my fonts. Though I attempted to add a few features correlating the typeface I chose, I also noticed that the spur of the letter 'a', the terminal of the letter 't', has a very heavy upward swift to it. 

Second attempt sketches:

Figure 1.1.8 - Second attempted sketches, May 25th, 2021

I attempted 3 more sketches and had Mr. Vinod give a few insights on digitizing the third sketch. 

Digitizing progress:

Figure 1.1.9 - Digitalisig progress #1, May 25th, 2021


Figure 1.2.1 -  Digitalisig progress #2, May 25th, 2021

Figure 1.2.2 - Digitalising progress #2a, May 25th, 2021

The progress above displays the strokes that I've chosen to keep the consistency of other letters' stems and the bowl of the letter 'd'. 

Figure 1.2.3 - Digitalising progress #3, May 25th, 2021

Next, I attempted to make up the letter 'a' with the assistance of the letter 'o', adding in the spur to shape the letter 'a'. With that, I continued on doing the same with the other letters. 

Improvised/refined work: 

Figure 1.2.4 - Improvised strokes using brush strokes, June 1st, 2021

When digitalizing, even before the sketches Mr. Vinod mentioned working out the letter 'o' first in a font helps achieve the consistency of a font. In the image above, I turned my sketches into vectors to start out improvising and did an anatomical observation towards it as research to finalize a design from there.

Figure 1.2.4 - Differentiatins between the previous font and refine font, June 1st, 2021

What was also mentioned by Mr. Vinod that could assist from a 'brush stroked' sketch into a vectored sketch. Other than that I have to have a good structure to them, which determines the readability and can most probably be improvised and decorated with serifs after as contrast.

Figure 1.2.5 - Importing vectored letters into Fontlab, June 1st, 2021

Figure 1.2.6 - Adjusting bearings and kerning between the glyphs, June 1st, 2021

Adjusting the distance from each of the letters is one of the most important steps to finalizing the functions of the fonts.

Figure 1.2.7 - Adjusting kerning between worded glyphs, June 1st, 2021

Lastly, I spelled out a few words to see if there were uneven distances from the letters spelled and adjusted the kerning to make it appear more proper.

Figure 1.2.8 - Final refine font with baseline, June 1st, 2021

After exporting and installing the font into my computer, I rewrote the letters that I designed into Illustrator and the baseline.

The last step to this task was to make a poster with the sentence' I am a type god. Obey me!'.

Final Outcome:

Figure 1.2.9 - Final outcome font sequence, June 1st, 2021

Figure 1.3.1 - Final poster, June 1st, 2021


Pdf Version:


Feedback 

General Feedback

[May 25th, 2021 (Week 9)]

-

Sketches have less research and need to further analyze other typefaces in ideating also refining sketches and start digitalizing. Did a few more sketches during 'task 2' was being marked during class, received feedback on improvising and researching while furthering progress into digitizing glyphs.


Specific Feedback

[June 1st, 2021 (Week 10)]

-

The digitized font had inconsistent widths and needed to improvise from the previous sketch font. After a few quick amendments to the whole glyph design, the strokes were more consistent and can be progressed into Fontlab to be used into an actual font later than and to create a poster with the following design font.

Reflection
May 30th, 2021
-

What I was able to reflect on this task for typography, is how much of a challenge it is to design a font! There were multiple trials and errors- designing fonts also involves a lot of research, observing, and planning out. At first, I thought it would be very fun to make my own fonts but there is a WHOLE process to it. 

All I can say that it requires masses amounts of patience and preparation of tears and mental breakdowns in order to keep a font design consistent and not appear too extravagant unless based on an event, a particular one, supposedly. 

Then again, it was fascinating to be able to indulge in the processes and accumulate ways of working my way out in designing a font, I know it's not the best but that only means more research and more experimentation are to be carried out to be able to ride the waves of 'designing' and understanding what to design when it comes to 'fonts'.

Further Reading:

Task 3, further reading (Week 9 - Week 11)

Figure 1.2.2 - 'Detail in Typography' BookCover

Thinking with Type
By Ellon Lupton 2004 

Typography is rapidly and often dramatically developing when we go from print culture to display culture, although at the same time some foundations are important for typographic originality and visual clarity. This is exactly why Ellen Lupton developed this again, now the famous 'Type Thinking: A Critical Guide for Designers, Writers, Publishers, & Students' which Princeton Architectural Press initially issued in 2007 in a revised and extended version. The book is a visually driven guide to the typographical style and uniqueness, from the current stylish sheet for printing and a good way for the Internet to essentially blend types and hand letters, by learning the rules to artistically defy them.


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