Digital Typography Task III: Type-Design and Communication
MODULE GCD: Digital Typography
14/11/2023 - 19/12/2023 : Week 8 - Week 13
Tristan Vaughan Sleep - 0365120
Typography / Bachelor of Design (Hons) in Creative Media
Task III: Type-Design and Communication
PARTICIPATED LECTURES:
WEEK 8: Type-Design and Communication
To continue with this Module’s tasks, this week will officially mark the introduction into the cohort’s third task: “Typographic Exploration & Communication.” Following the briefing by our lecturers, this new task would mainly focus on the development of the development and implementation of typefaces. Before students would be able to begin their new task, it was recommended that we head to a stationary store and collect a series of typographical pens.
To continue with this Module’s tasks, this week will officially mark the introduction into the cohort’s third task: “Typographic Exploration & Communication.” Following the briefing by our lecturers, this new task would mainly focus on the development of the development and implementation of typefaces. Before students would be able to begin their new task, it was recommended that we head to a stationary store and collect a series of typographical pens.
Typeface Observations + Developing Typefaces
In order for the students to begin working on this new task, it was recommended by the lecturer for students to look into the design of their preferred font (personally chose Futura) and analyse elements such as line weight + shape etc. Students can determine the characteristics of said font by looking at the following letter, “H,o,g,b.” Once completed, students are recommended to produce a detailed dissection of the font, noting interesting design choices & features. This process is recommended for students as it will demonstrate the consistencies found within fonts.
In order for the students to begin working on this new task, it was recommended by the lecturer for students to look into the design of their preferred font (personally chose Futura) and analyse elements such as line weight + shape etc. Students can determine the characteristics of said font by looking at the following letter, “H,o,g,b.” Once completed, students are recommended to produce a detailed dissection of the font, noting interesting design choices & features. This process is recommended for students as it will demonstrate the consistencies found within fonts.
In regards to the use of the typographical pens, students would need to collect a minimum of three pens, being “Rounded, pointed and Calligraphy-headed pen” - capable of being found at a series of stationary stores. With the resources gathered, students would be able to begin working on their designs on their own typefaces - tested by the sketching the following letters “o l e d s n c h t i g , . ! #.” In order to get the most out of this experimentation phase, students would need to produce three separate designs for each pen - diversifying the understanding of design.
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“Example provided by the lecturer”
It is important to note that this week’s activity would be unable to be checked by the lecturers due to the students being on the ‘Independent-learning-week.’ Due to this limitation, students are recommended to work normally however, additional support will be supplied in the following week.
WEEK 9: Typographic Digitalisation
Building upon the work completed in the previous week, students would need to begin working on digitalising their sketches using Adobe Illustrator. Before students would be allowed to begin the ‘digitisation process,’ students would need to collect and present their sketches to the lecturer where a more informed opinion would be provided.
Digitalisation Process
It was highly recommended by the lecturers for the cohort to provide their sketches before digitising their designs as the lecturers wanted to ensure that the work was completed to a satisfactory level. Additionally, this check-in with the lecturer would ensure that the students remain consistent with their designs which is an important feature noted when analysing existing fonts.
When the lecturer has approved the students works and has provided any necessary corrections, students are encouraged to import their sketches into Adobe Illustrator and begin digitising their designs. During this, students are only required to digitise either the uppercase or lowercase letters (not both). In Adobe Illustrators, tools such as the pen or brush tool are required to be used due to their ability to be altered to replicate the effect of writing with a physical pen - offering customisation features such as pen’s width, height and drop-off. Students should progress their work in stages, starting with the raw strokes of their designs which is later refined by converting them into an object and adjusting the nodes as necessary.
Ultimately, at the end of this portion of the task, students should have produced a stylised version of their own typeface, either presented using upper or lowercase.
WEEK 10: Typographic Digitalisation Cont.
As previously mentioned in an earlier section, this week would be a continuation of the previous week’s work - not only to ensure that all students are around the same level of progression but have had ample time to request necessary feedback from the lecturers. In regards to the lecture itself, the lecturers provided students with additional resources such as videos and demonstrations on how to complete their work effectively.
WEEK 11: Compiling & transferring to FontLab
One of the last steps required for this assignment and for developing a custom typeface is to begin compiling all the resources to make a digitally readable format. This week’s activity relating to the assignment is beginning to port over our designs of letterforms into a new program called FontLab. Regardless if students choose to use version 7 or 8, FontLab is a specialised program which was made to create, edit & compile letterforms to produce a custom typeface - being fully compatible with Adobe Illustrator.
FontLab Process
As this activity is rather technical, the lecturers were sure to provide the cohort with a live demonstration as well as a series of recorded tutorials as to how students could transfer their Adobe Illustrator designs into the FontLab Program. For this to work effectively, students would need to ensure that each program has their settings centred around compatibility - allowing students to literally copy & paste their designs between programs. Before pasting, students would need to set-up the important measurements of their custom typeface (Median, Ascenders, Descenders etc.) as FontLab would then be able to perfectly paste the designs in.
As this activity is rather technical, the lecturers were sure to provide the cohort with a live demonstration as well as a series of recorded tutorials as to how students could transfer their Adobe Illustrator designs into the FontLab Program. For this to work effectively, students would need to ensure that each program has their settings centred around compatibility - allowing students to literally copy & paste their designs between programs. Before pasting, students would need to set-up the important measurements of their custom typeface (Median, Ascenders, Descenders etc.) as FontLab would then be able to perfectly paste the designs in.
With all the necessary edits made, students could begin porting over their designs - going letterform by letterform until they’ve completed their entire alphabet. While in FontLab, students can overlook all of their designs and tweak them as needed. With their fonts finalised, the cohort would be able to export the final typeface into a readable format - allowing it to be used by the computer.
WEEK 12: Typographical Poster
This week aims to be the final week (at least of the creative process) of this assignment. In order for students to consider this assignment completed, it is required for students to create a final poster to promote their newly created Typeface. As stated by the lecturers, each poster design should mainly be centred around presenting the letterforms - not allowing for any additional fonts with the exception of ‘Univers standard.’ The univers Font is only to be used in a short tag which displays the name of the font as well as the author’s name.
This week aims to be the final week (at least of the creative process) of this assignment. In order for students to consider this assignment completed, it is required for students to create a final poster to promote their newly created Typeface. As stated by the lecturers, each poster design should mainly be centred around presenting the letterforms - not allowing for any additional fonts with the exception of ‘Univers standard.’ The univers Font is only to be used in a short tag which displays the name of the font as well as the author’s name.
Design wise, the lecturers detailed that it should be similar to the previous colours and be produced in greyscale. Additionally, the poster itself should not be too heavily detailed as the audience should only be drawn to the text itself. Finally, the poster should be designed in scale with an A4 sheet of paper - the space being properly utilised to create an interesting design.
WEEK 13: Completing the Technical write-ups
As previously mentioned in an earlier section, this week would be a continuation of the previous week’s work - not only to ensure that all students are around the same level of progression but have had ample time to request necessary feedback from the lecturers. In regards to the lecture itself, the lecturers provided students with additional resources such as videos and demonstrations on how to complete their work effectively.
As previously mentioned in an earlier section, this week would be a continuation of the previous week’s work - not only to ensure that all students are around the same level of progression but have had ample time to request necessary feedback from the lecturers. In regards to the lecture itself, the lecturers provided students with additional resources such as videos and demonstrations on how to complete their work effectively.
MODULE INSTRUCTION:
“AUG - DEC 2023: GCD 60104 / TYPOGRAPHY MODULE INFORMATION BOOKLET”
Task III: Type-Design and Communication
Type-Design and Communication: In this upcoming Exploration, the goal of the students in the cohort is to be able to design their own typefaces, expressed by using the letters, “__.” From this content, students should have learnt how to create a legible & readable typeface - referencing the designing process. Students are to start this task by researching existing typefaces which are to be analysed and deconstructed as reference material.
Type-Design and Communication: In this upcoming Exploration, the goal of the students in the cohort is to be able to design their own typefaces, expressed by using the letters, “__.” From this content, students should have learnt how to create a legible & readable typeface - referencing the designing process. Students are to start this task by researching existing typefaces which are to be analysed and deconstructed as reference material.
Beginning Research into Type Design
As previously mentioned in the briefing above, the design of the students’ fonts need to be based on existing guidelines found within Typography - students are free to modify them as they please however, they should still be present. This often includes features such as the font’s baseline, median line, x-height, cap-height (should it exist) as well as ascenders and descenders. Further demonstrated in the image presented below.
As previously mentioned in the briefing above, the design of the students’ fonts need to be based on existing guidelines found within Typography - students are free to modify them as they please however, they should still be present. This often includes features such as the font’s baseline, median line, x-height, cap-height (should it exist) as well as ascenders and descenders. Further demonstrated in the image presented below.
“Example Typographical guidelines using Sphinx Font”
It is a vital part of the design phase that students remain informed of these features when designing their fonts as it adds a level of consistency between each element of the font. An interesting element to note when looking at the example provided above, it is possible for fonts to have characteristics which exceed over the guidelines - this is not too uncommon, especially when looking at serif texts. This stylisation technique is often referred to as “overshoot.”
Following this discovery, I wanted to experiment further with the concept of the Typographical guidelines - mainly looking for good examples using san-serif fonts. Ultimately, I decided to produce my own example by looking at one of my preferred fonts, Futura Std and seeing how different it appears.
“Example Typographical guidelines using Futura Font”
When looking at this example, it becomes quite clear to see that (in most cases) san-serif fonts are geometrically designed and clearly line-up with the guidelines. However, some of these fonts also forgo the use of the “Cap-height,” instead choosing to make it the same as the ascending line. This would be something interesting to consider when moving forward with the task and would begin working on the personal sketches.
Early Example + Refined Sketches
Following through with my research on Type-Design, I began experimenting with my newly acquired pens on graphing paper. Graphing paper seemed to be a good idea as I should have been able to keep a consistency when referring to the guidelines. However, the consistency is not perfect as some of the pens have a thicker consistency as well as the grid paper having rather small grids which was difficult to see when working. Regardless, I would submit these designs where I would receive feedback and refine some of the sketches. Personally, I prefer the look of design “_” & design “_:” the unique dot in the centre of letterforms make it look interesting & fun and the ‘Blackletter style’ has always been one of my favourites due to its elegant, timeless appearance.
Following through with my research on Type-Design, I began experimenting with my newly acquired pens on graphing paper. Graphing paper seemed to be a good idea as I should have been able to keep a consistency when referring to the guidelines. However, the consistency is not perfect as some of the pens have a thicker consistency as well as the grid paper having rather small grids which was difficult to see when working. Regardless, I would submit these designs where I would receive feedback and refine some of the sketches. Personally, I prefer the look of design “_” & design “_:” the unique dot in the centre of letterforms make it look interesting & fun and the ‘Blackletter style’ has always been one of my favourites due to its elegant, timeless appearance.
“Collection of sketches using the Ink Pens”
To move forward with the project, I would refine the two sketches by using the dimensions of the “Bodoni Std‘ font for reference. ‘Bodoni’ was picked due to it having a unique appearance and being a more modernised Classic Serif.
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“Refined sketch for “_””
Digitalising the Finalised Type-Designs
When beginning to design the letterforms for my custom typeface, I was sure to start by placing the recommended guidelines previously mentioned as well as the ones enforced by the lecturers. This way, the designs would remain consistent from a spacing standard. It was recommended to feature the, “Baseline, Median Line + X-height, Capital Height, Ascender + Descender Heights.” This would later be important when measuring the distance between each guideline.
“Process for designing: the letter “G”
“Process for designing: Finalised line-up for the typeface”
Measurement of the letterforms (Starting from Baseline)
Baseline - 0.0 pts
Median Line - 432.03 pts
Capital Height - 621.35 pts
Ascender Height - 621.35 pts
Descender Height - -189.32 pts
Median Line - 432.03 pts
Capital Height - 621.35 pts
Ascender Height - 621.35 pts
Descender Height - -189.32 pts
After dealing with a series of problems and applying consistency across the design, I would finally be able to complete the graphical side of the task. Personally, I am quite pleased with the way the typeface turned out as it meets the goals I had set with the original project - a stylised work to imitate the appeal of serif with a stylised look. With this completed, I would now be able to begin porting over the designs from Adobe Illustrator and begin working in “Font-lab” in order to test the typeface.
Finalising the Typeface using Font-Lab
With a majority of the design being finalised; to close out the assignment, I would begin working to import the Adobe Illustrator designs into the newly listed program - FontLab (Version 8.) Essentially; with this program, I would be able to transfer over the designs between the programs and begin designing more important settings when customising fonts, such as the Margins & spacing in between the glyphs. Additionally, FontLab proved to be useful when it came to cleaning up the letterforms as it had a series of features designed to remove unnecessary anchor points and uses a more precise measurement system. With this, the designs can feel a bit more consistent as all stroke widths or serif tails would all have the same values.
With the designs being cleaned-up and organised in a typeform format, I would be able to start tuning the kerning for each glyph using the ‘metrics-tab.’ Using this tab, I could also work to clean-up some of the horizontal markers such as ‘ascender + descender Heights’ as well add custom kerning - exclusive to a combination of letterforms (i.e the spacing between a & y would be different between a & n.) Overall, with the process completed, I would be able to finalise my custom typeface and install it onto my computer to be used in the simple posters students would need to create.
In essence, the posters are to be small creative pieces to show off the finalised font in a cohesive, easy-to-read design. For this showcase of sorts, I decided to name my font “Curvatura” due to the font having a curved design and featuring a series of circles - not the best name but it works. It was Actually in this finalising phase that I realised that my custom font does not work well as being condensed like normal font so I had to increase the kerning in Adobe Illustrator when working. As for the quote used; “Make Type, Great Again!”, it was a short phrase recommended by the teacher given the restricted character count. As for the poster designs themselves, I experimented using my fonts in a series of different situations - looking at potential problems such as vertical & horizontal uses as well themed-designs. It was in this phase however, I realised I was not too pleased with my font; it didn't look conventional and made the text very difficult to work with. Regardless, I finished the designs and produced the posters below.
“Images of Finalised Posters for the ‘Curvatura’ Custom Typeface”
“PDF of Finalised Posters for the ‘Curvatura’ Custom Typeface”
MODULE FEEDBACK:
WEEK 8 - Task III: Type-Design and Communication
General Group Feedback: With the completion of the previous weeks’ tasks, the lecturers once again stressed the importance of the written reflections & the e-Portfolios to the cohort as some are not meeting the demands. It is highly recommended for the students to set aside some time & begin finalising the e-Portfolios.
Specific Feedback: Relating to the general feedback; I met with the lecturer to discuss my e-Portfolio - looking for needed changes or necessary changes. From the feedback I had received, my work appeared to be acceptable - no plagiarism, out-of-date resources however; some of the posts did lack elements like images or entire sections. Recommended to go back through and insert missing material.
WEEK 9 - Task III: Typographic Digitalisation
General Group Feedback: Regarding this new assignment, it became clear that the cohort struggled with the concept of “consistency” in the context of typographical design. For the most part, students would have recurring elements however, they did not always appear where they should - especially when comparing with other letters in a student’s custom typeface. Following feedback with the teacher, it was recommended to follow their examples & redesign the letterforms to appear more consistent.
Specific Feedback: As stated above, one of my greatest concerns regarding this week was the legibility & consistencies of my designs. Ultimately, the lecturer and I would decide that the typeface with the dots would be the most interesting. With the design path chosen, the lecturer showed possible ways to change the design to feel more consistent such as making it so that the dot always appears in the middle section or that it appears on specific line strokes etc.
WEEK 10 - Task III: Typographic Digitalisation Cont.
General Group Feedback: Continuation of the previous week; same advice provided by the lecturers. This time, it was recommended to consider the margins of our fonts - it would be useful at a later stage of this assignment.
General Group Feedback: Continuation of the previous week; same advice provided by the lecturers. This time, it was recommended to consider the margins of our fonts - it would be useful at a later stage of this assignment.
Specific Feedback: Was unable to meet with the lecturer due to other students needing to get their designs approved.
WEEK 11 - Task III: Compiling & transferring to FontLab
General Group Feedback: When considering that students would begin to transfer their designs to FontLab, the lecturers provided a series of useful tricks as well as provide feedback. The main struggle students had was porting the designs over - the cohort was shown multiple times how to enable the compatibility settings. Additionally, it was expressed that students should copy their designs one by one as multi-designs may negatively affect the program. Once again, it was recommended that students put in the margin measurements as some of the students' works were being awkwardly imported.
General Group Feedback: When considering that students would begin to transfer their designs to FontLab, the lecturers provided a series of useful tricks as well as provide feedback. The main struggle students had was porting the designs over - the cohort was shown multiple times how to enable the compatibility settings. Additionally, it was expressed that students should copy their designs one by one as multi-designs may negatively affect the program. Once again, it was recommended that students put in the margin measurements as some of the students' works were being awkwardly imported.
Specific Feedback: When it came to importing my designs, the lecturers noted that my design had quite a few anchor points - most likely caused by the’ _ effect.’ In the FontLab editor, it was highly recommended that I remove some of the repetitive anchors; the best part is that the editor will automatically manipulate the lines to ensure that they hold their shape.
WEEK 12 - Task III: Typographical Poster
General Group Feedback: A common misconception surrounding this final section of the assignment is the ‘design’ of the poster. Although a series of the students' designs are very well made, a majority of them are “inserting a different message” or in essence, are using the text to express an idea rather than focusing on the text itself. Although not entirely wrong, it does not line-up with the objectives of this assignment.
Specific Feedback: Regarding my final designs, I would need to go back through and change them twice over. The first time was due to the posters not being too appealing - lacking any interesting uses of the typeface as well as clean-up minor mistakes such as the previously mentioned ‘Univers Standard tag.’ The second time, I would need to focus the designs more around the text as well as remove the colour from the image (Manual changes were recommended over simple greyscale.)
FURTHER READING:
“ Typographic design: Form and communication”
DIGITAL BOOK II - “Typographic design: Form and communication”
In order to have a better reading experience, I decided to continue “Typographic design: Form and communication” during the assignment. I thought it would prove useful to continue reading as the later chapters started to discuss how to effectively utilise the space on a page spread - achieving a unique design. In essence, the latter chapters express the importance of “balancing elements” such as arranging elements using their line-weight, kerning & tracking.
Personally, I believe that some of the techniques mentioned in this book would be useful in the Custom-Typeface Posters as well as the upcoming ‘Self-titled’ combined assignment.
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