Advanced Typography Task 3 : Type Exploration and Application
Angel Tan Xin Kei / 0356117
Advanced Typography / Bachelor of Design (Hons) in Creative
Media
Task 3 / Type Exploration and Application
⋆ ˚｡⋆୨୧˚ Index ˚୨୧⋆ ˚｡⋆
- Lecture
- Instruction
- Practical : Task 3 Type Exploration and Application
- Proposal
- Idea Development
- Developing final font in Fontlab 7
- Font Presentation
- Font Application
- Final Submission
- Feedback
- Reflection
- Further Reading
⋆ ˚｡⋆୨୧˚ Lecture ˚୨୧⋆ ˚｡⋆
⋆ ˚｡⋆୨୧˚ Instruction ˚୨୧⋆ ˚｡⋆
⋆ ˚｡⋆୨୧˚ Practical ˚୨୧⋆ ˚｡⋆
For the final task, we have three options of works to consider:
- Create a New Font: Design a font that addresses a problem or offers a solution in your field of interest, such as graphic design or animation. Deliverable: a fully developed font file (.ttf) with practical applications.
- Improve an Existing Letterform: Analyze an existing letterform, identify potential improvements, and create an enhanced version. Deliverable: a fully developed font file (.ttf) with practical applications.
- Experiment: Undertake a unique typography experiment, using 3D materials, digital augmentation, edible materials, or other creative methods. Deliverable: defined by the student.
The final product should be a complete, usable font file (.ttf) with
applicable uses.
A. Proposal
I have proposed three preliminary ideas:
1. Cursive and Serif Overlay: Create a font where cursive and serif
styles overlap, resulting in a unique, dual-layered design.
2. Cute Adorable Cat Typeface: Design a bubbly font inspired by cat
motifs, emphasizing playful and adorable characteristics as most of the
cat typefaces are hardly shown the characters and overly pictorials.
3. Lego Letterform Experiment: Experiment with typography by using Lego
bricks to form letter shapes, exploring the interplay between physical
construction and digital type design.
After presenting my proposals to Mr. Vinod, he advised me to choose the
idea I am most interested in working on.Then, I chose idea 2, the cat
typeface, because there aren't many cat-themed typefaces that are both
adorable and highly readable. He also recommended creating some sketches to
help develop the idea further.
B. Idea Development
After gathering some references, I began digitizing all the letterform
sketches in Illustrator.
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| Figure 1.1 References and my moodboard of Cat Typefaces |
Mr. Vinod commented that the design of typefaces is not consistently
executed, but he noted that elements like the eyes and paws are a good
starting point but need to maintain the stroke weight the same for all
letterform. He suggested using a san serif font instead of a serif,
cursive or display font for better consistency.
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| Figure 1.2 My First attempt of Cat Typefaces ( Digital Sketches ) |
I tried using rectangular shapes to form the letterforms initially. I
remembered that in the first semester, Ms. Hsin taught us that there are
differences in stroke weight for letters like O, C, D, and G compared to
other letters. There are more curvy parts for the whole letterform so stroke
should be slightly thicker.Then I make it more bubbly to suit my bubbly
cat-themed.
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| Figure 1.3 Differentiating and Resizing the Letterform |
As Mr. Vinod mentioned, the cat typeface must be consistent. To achieve this, I illustrated the cat elements and used the stroke to draw out the shape first then finalized it into outline stroke.
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| Figure 1.4 Drawing the Cat Features |
Then, I duplicated multiples of these pictorial elements onto each letterform
then compiled it with the pathfinder effect of divide and minus.
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| Figure 1.5 Incorporating the cat pictorials |
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| Figure 1.6 Final Compilation of Font with Pictorials |
After finalizing the design, I re-scale it into bigger and accurate
points.Then, I also worked on the letters.
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| Figure 1.7 Re-modify the size of Letterforms |
Measurements:
Ascender: 727 pt
Cap height: 702 pt
X-height: 500 pt
Baseline: 0 pt
Descender: -186 pt
C. Developing final font in Fontlab 8
After completing all the letters, I began working in FontLab 8. I imported
all the letters into FontLab to start the finalization process also ensure
the setting are correct by referring to Mr.Vinod's video instruction. I
ensure all the setting are according to my measurements.
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I also tried to type out some words to check for the spacing in the metric
tab.
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| Figure 2.3 Some examples of after adjustment |
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| Figure 2.4 Final Adjustment |
After adjusting everything, I exported all the letterforms and named the
font "Catdorable".
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| Figure 2.5 "Catdorable" Font |
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D.Font Presentation
I have searched up for some inspiration in Pinterest and fond of the color
of black and pastel blue and pastel purple also suited the color of
cats.
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| Figure 2.7 Inspiration of Font Presentation and Application |
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| Figure 3.1 Font Presentation |
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| Figure 3.1.1 Font Presentation 1.jpg |
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Figure 3.1.2 Font Presentation 2.jpg |
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Figure 3.1.3 Font Presentation 3.jpg |
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| Figure 3.1.4 Font Presentation 4.jpg |
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Figure 3.1.5 Font Presentation 5.jpg |
| Figure 3.1.6 Font Presentation.pdf |
E.Font Application
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Figure 3.2.2 Font Application 2.jpg |
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Figure 3.2.3 Font Application 3.jpg |
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Figure 3.2.5 Font Application 5.jpg |
As usual, after designing the artboards then I used Adobe Photoshop with the
effects of distort and perspective to ensure it fits with the mockup
smoothly.
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| Figure 3.4.2 Font Application on Beverage Cup |
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| Figure 3.4.3 Font Application on Cat Food |
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Figure 3.4.6 Font Application
Final Submission
Download Catdorable Font:
Font Tester:
⋆⋆ ˚｡⋆୨୧˚ Feedback ˚୨୧⋆ ˚｡⋆
Week 13
General Feedback:
The overall font presentation should be clear and coherent witht the style
of font and begin to mock-up with pentagram.
Specific Feedback:
Should modify the pictorial elements like eyes, stripes and paws to be path
minusly with the letterform so that it doesn't fix to white colour but to be
transparent.
Week 12
General Feedback:
Make sure to export out the font in ttf format and presentation of font
must be align with the proposal that we have listed out the problem that we
wish to be solved.
Specific feedback:
The stroke lines inside for small case letters should be thinner and
numbers and punctuation just one pictorial element is enough.
Week 11
General Feedback: Do ensure the letterform fit within the 1000
point artboard. It's important to capture every ideation and process for
each artwork as a proofwork to demonstrate that it was created by
ourselves.
Specific Feedback:
After refining the thickness of the stroke of eyes, the overall font visual
are better.
Week 10
General Feedback:
Establish a grid system as a foundational framework is important for
type design to ensure consistency across all letters. Arrange
lowercase letters alongside their uppercase counterparts for better
coherence.
Specific Feedback:
Ensure a consistent of cat's feature in terms of size thickness and
axis within the counter shapes of the letters.The strokes of all letters
are fine and consistent just the cat characteristics need to align not
just the eyes or tail itselfs but the whole parts thickness for better
visualise.
Week 9
General Feedback:
It is essential to conduct in-depth research and sketch out to have a
broader insight of the outcome.Everone must review the font presentation
examples provided in the designated folder for guidance on effective
formatting and content organization.
Specific Feedback:
Both first and third ideas are options to pursue.Regarding the second
idea, it's important to start sketch out first and cat typeface is very
challenging to craft out outstandingly. The concept of it is still worth
exploring further.
Week 8 (Independent Learning Week)
General Feedback: Mr. Vinod emphasized the importance of developing our
own proposal before crafting on typeface, whether it involves expanding
existing typefaces, experimenting with new ideas, or creating entirely
new typefaces.It's advisable to start early to allow more time for
practical work.
⋆ ˚｡⋆୨୧˚ Reflection ˚୨୧⋆ ˚｡⋆
Experience:
Throughout this final project, it was my first time making a complete
typeface with my favorite animal cat. From the outset, I knew that
creating a typeface would require a blend of creativity , but the reality
of the process was far more converse that I thought as we really need to
be consistent in sense of the anatomy of typography.The journey began with
sketching individual letters, each one demanding precision and consistency
to ensure the final typeface would be cohesive. As I progressed, I
encountered numerous difficulties especially in maintaining uniformity
across all characters and ensuring that each letter fit harmoniously
within the overall cat features design. These challenges often felt
overwhelming, but they also provided invaluable opportunities for growth.
I am grateful for this experience as it allowed me to gain a deep
understanding of the process involved in creating a complete typeface.
Observation
Creating a complete font allowed me to observe many new aspects of
typography that I had not considered before. Unlike the simple few letters
I made in the first semester, this project required a comprehensive
approach to design. Each letter had to be detailed crafted, not only as an
individual letterforms but also as part of a cohesive system of alphabets.
I observed the importance of consistency in weight, stroke, and style, and
how slight variations could disrupt the harmony of the typeface. Adjusting
the size and position of each letter was crucial, as was ensuring proper
kerning and spacing when letters were paired together. This attention to
detail was a revelation, highlighting the delicate balance needed to
create a visually pleasing and functional font.
Findings
Through this experience, I realized that creating a great font involves a
lot of experimentation, tweaking, and perseverance. Initially, I thought
that making fonts was a straightforward task, akin to drawing letters on
paper and digitize out our sketches. However, the actual process proved to
be far more complex and demanding. Each iteration of a letter required
careful scrutiny and adjustment to ensure it aligned with the overall
design vision. This often meant going back to the drawing board multiple
times, testing different variations of elements , and making countless
tweaks to achieve the desired outcome especially in terms of punctuation
smalll letters sizing issues. I discovered that font making is a long and
exhausting process, one that demands patience, dedication, and a keen eye
for detail. Despite the challenges, the process was incredibly rewarding,
offering a deep sense of accomplishment with each completed character.
This project taught me that the beauty of a typeface lies in its
meticulous craftsmanship and that creating a font is an art form that
requires both technical skill and creative intuition.
⋆ ˚｡⋆୨୧˚ Further Reading˚୨୧⋆ ˚｡⋆
"The Complete Manual of Typography" by James Felici
is a comprehensive guide to professional typesetting and
typography.
This book is essential for anyone working with type, including designers,
print production professionals, and corporate communications managers. It
serves both as a reference guide for quick answers and a detailed textbook
for in-depth study.
Key topics covered in the book include:
History and Basics of Typography: The book provides a thorough background
on the history of type, explaining the evolution of typefaces and fonts.
It distinguishes between different typographic terms and concepts, making
it easier to understand the foundations of typography.
Type Design and Usage: Felici discusses the anatomy of letters, including
the intricacies of type design and the characteristics that make each
typeface unique. The book covers the principles of good design and how to
achieve visually appealing and readable type.
Typesetting Techniques: Practical advice is provided on setting type using
digital tools. Felici explains how to achieve professional results,
covering topics such as spacing, alignment, and the use of different
typesetting software. The book includes numerous visual examples to
illustrate both good and bad typesetting practices.
Advanced Typography: The manual delves into more complex aspects of
typography, such as kerning, tracking, and leading. It also addresses
common issues and how to resolve them to produce clean, readable text.
Digital Typography: Special sections are dedicated to the challenges and
techniques of digital typesetting, ensuring that readers can apply
traditional typographic principles in the modern digital landscape.
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