Typography/Task 3A - Type Design and Communication

TYPOGRAPHY; TASK 3A 

11/10/2021 - 25/10/2021 (Week 8 - Week 10)
Diane Lim En Wei / 0345187 / B'Creative Media
Typography

Task 3 / Type Design and Communication

LECTURES

Week 9 (22/10/2021)
Do research on different typefaces, to build up the possibilities and ideas in your head. Once done, start sketching. When sketching your own typeface ideas, it is best to sketch out the letters; o, h, t, and a.  Do several sketches of different typefaces, and once done; look for reference of a typeface that looks close to the one that you have sketched. 

Deconstruct letters; look at how a letterform is put together. Understand the small details used to construct the letter form. Deconstruct at least three letterforms.

Fig 1.1 ; Deconstructing the letter 'r' (20/10/2021)

Once deconstructing, using the knowledge gained from deconstructing and research, begin constructing your letterforms.

Things to keep in mind
  • Artboard size in illustrator should always be 1000 points in height. 
  • x-height of the letterform must fit into a 500 by 500 points box
Ways to make the letter forms are using;
  • The shape tool (recommended)
  • Pen tool
  • sometimes both together.
Counter space of the letterform should typically be the same size as the stroke, but for a sleeker look, the counter space can be half the space of the stroke instead. 

Fig 1.2 ; Anatomy of a type face (20/10/2021)

INSTRUCTIONS

Week 9 (22/10/2021)
I started the process out by looking doing research and finding inspiration for my Typeface design. I found this particular image (Fig 2.1). 

Fig 2.1 ; Inspiration for Type design (23/10/2021)

I liked the idea of breaking down a Type into simple lines, giving it the image and feel of a skeleton rather than having it be filled in and represent a full body. After finding this, inspiration struck and I began sketching. 

Fig 2.2 ; Sketches of Font design (23/10/2021)

My favorites out of all of them (Fig 2.2); were 4 and 5. Since English text is read from left to right, I decided to only make the left side of the Type appear thicker (with exceptions). This was also done to keep consistency. 

With that, I began digitizing the sketches in Adobe Illustrator. With Fig 2.3, being the first attempt at digitization. I missed the letter 'E' in this attempt.

Fig 2.3 ; First attempt at digitization (23/10/2021)

After receiving feedback from my lecturer, I made changes to the font and resulted in my second attempt; Fig 2.4.

Fig 2.4 ; Second attempt at digitization (23/10/2021)

I stayed back in class to ask for feedback (which was the third time on this day), and resulted in the final digitization of the Font design; Fig 2.5.

Fig 2.5 ; Final attempt at digitization (23/10/2021)

I then did a test on Adobe Illustrator, just to have a PDF and JPEG version of the final outcome of the Typeface (Fig 2.6).

Fig 2.6 ; Final Digitization of Font (23/10/2021)

Fig 2.7 ; Final PDF of Font (23/10/2021)

Fig 2.8 ; Preview of Font on Blogger (23/10/2021)

Link to download the font; 
https://drive.google.com/file/d/15gSYiRit0tXcvgU3nwhcIGYsl1rZicZ_/view?usp=sharing

FEEDBACK

Week 9 (22/10/2021)
General Feedback
Ensure your type design remains consistent throughout, down to the littlest nuances.
Specific Feedback
I received feedback 3 times this day. 
  • In reference to Fig 2.2, The letter 'O' generally has the 'thickness' on both sides of it. Look at the conventions of other letters, and observe which letters have a thickness on both sides, and which do not.
  • In reference to Fig 2.3, Make the 'O' wider. The digitization of the sketch looks much cleaner. Taper the end of the exclamation point towards the center, and increase the gap between the rectangle of the exclamation point, and the circle. Thicken up the lines of the font a bit.
  •  In reference to Fig 2.4, Add serifs to both sides of the letters to stabilize the typeface.

Week 10 (29/10/2021)
The typeface is consistent in look and stroke. It has an elegant disposition but may benefit with a little more weight. The comma's tail can be longer. I like your statements in the poster however you missed out the smaller info (12 points, Helvetica: name, designer year). More research and exploration might benefit your process more. Good first attempt.

REFLECTION

Mr. Vinod really nailed the concept of consistency in our font, and the conventions observable in other popular Typefaces/Fonts. Something I didn't even think about up until this assignment. Now that I know how to create Fonts (thanks to this assignment), I can create my own specific Fonts to fit whatever vibe I aim for in my personal/commissioned art. I had a lot of fun with this assignment, and I like the result of the final outcome. 

FURTHER READING/REFERENCES

For further reading, I read through 'Typographic design, form and communication," written by Rob Carter, Philip B. Meggs, Ben Day, Sandra Maxa, and Mark Sanders.

Fig 3.1 ; Book cover of  Typographic design; form and communication (15/10/2021)

Typographic Design Process

A well known model in the design process contains 5 steps; which can be summed up by beginning with defining the problem, then progressing towards realizing the solution. The process can be started at any point but should still follow the flow; better visualized in Fig 3.2. 

Fig 3.2 ; The design process (24/10/2021)

In no particular order;
  • Defining - The immersion into the design process begins by defining the problem. 
    • What are the client's needs?
    • What are the goals and objectives of a potential solution?
    • Who is the audience? 
    • Budget and production limitations?
To first answer these questions, the problem's parameters need to be set. These parameters can change at any point during the process and should not be too tightly defined. 

  • Gathering - This phase provides the essential information needed by the designer, in regards to all aspects of the problem. Including;
    • Gathering information about the client
    • Problem content
    • Production requirements.
A designer's curiosity is the key to informed practice, and the ability to clearly communicate with colleagues and clients. 

  • Ideating - The worst enemy of the design process is when you are thinking inside the box. The mind should be open to unconventional thinking. Often, experienced designers rely upon formula, or knowledge-based intuition to solve problems, however, these approaches often limit the vast potential for new possibilities. 

  • Synthesizing - With the Ideating phase being concerned with expanding possibilities, the synthesis phase concentrates on narrowing options and coming to closure. The best way to evaluate the effectiveness of a solution is to weigh it point by point against the established criteria at the outset of the problem. Original criteria can change at this stage and the solution can be adjusted. 
Processing typographic form and ideas
The typographic design process involves a search for typographic form and meaning. Any change in form (syntactics) results in a shift in meaning (semantics), with the goal being to formulate ideas based on its form and meaning. These methods and techniques aid the designer in this search;
  • Sketchbooks and process books - Designers crave visual stimuli, and make a habit of recording daily visual experiences, whether that's via a camera lens or sketchbook. Sketchbooks reflect the ordinary and extraordinary experiences.

    They function as a collection of things found and observed, of the visible and invisible, the concrete and abstract. They contain a variety of content, from nonsensical doodles, to visual schemes of scientific phenomena. Growing and expanding regularly, acting as if it were the reflection of the designer's mental flights, observances, etc.

  • Brain storming - An effective approach if conducted according to basic ground rules, of which include;
    • Deferring judgement of all ideas,
    • Generating as many ideas as possible,
    • Being open to both good and bad ideas.
With the concept being that one idea leads to more new and unique possibilities. 

  • Mind mapping - A nonlinear brainstorming process, with a concept at its nucleus. By making lightning-quick associations, a web of related themes reflecting mental patterns emerge, helping designers identify areas of possible content, both visually and verbally. 

  • Word lists - Making lists of analogous words can stimulate thinking and open the mind to broader visual possibilities. A sign is understood more clearly and achieves a much greater impact when juxtaposed with an opposite sign. A list of words cause for new and improbably relationships to forge between unlikely and contrasting word pairs.

    Often, the most intriguing concepts emerge from the interaction of polar or nearly polar opposites.     When engaging in this process, it is helpful to unleash the child within, and hush any tendency toward self-criticism. 

  • Visual notations and comprehensives - Ideas that remain in the mind, and are not articulated visually do little to move the process forward.

    Design students often convey their ideas verbally. This is where ideas begin, but until they are expressed visually in the form of sketches, notations, their effectiveness cannot be evaluated. 

    The design process can be thought of as a beginning at broad base of a pyramid. The ideas begin at the base, but as you move up the pyramid towards its apex/vertex, the vision becomes more specific. 

  • Metaphorical thinking - In language, metaphors are a figure of speech, a suggestion of something appearing, sounds, or behavior like that of something else. 

    Letterforms can suggest objects and ideas beyond their function as symbols for spoken language. They possess visual qualities and can be manipulated to suggest other objects, sounds, and images. Metaphors are successful when the mind makes a conceptual leap and perceives shifts in context.

    New contexts are established when visual signs are combined to make new ones, or when the mind makes an association based on past experiences. e.g; 
    • Fragmented and exploding letterforms could suggest fireworks,
    • Forms organized into syncopated (displaced beats) rhythm could represent Jazz.
Every typeface has the potential to suggest a meaning beyond the mere content of the words and text. Some typefaces march, while others dance.

  • Morphologies - A morphology is a menu of visual possibilities. Consisting of syntactic and/or semantic variables. Variables that can be systematically or randomly explored in search for typographic solutions. When used freely and creatively, morphologies liberate rather than constrain the creative mind. 
Fig 3.3 ; An example of Morphologies (24/10/2021)


Image used in Fig 1.2 taken from; https://material.io/design/typography/understanding-typography.html#type-properties

Image used in Fig 2.1 taken from; https://search.muz.li/YmJiYzBhOGZk?utm_source=muz.li-insp&utm_medium=article&utm_campaign=%2Finspiration%2Ftypography-inspiration%2F

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