Typography Task 3 / Type Design & Communication
6 November 2023 - 16 December 2023/Week7-Week12
Kaho Yamaya / 0364278
Typography / Creative media / Taylor's University
Task3: Type Design & Communication
JUMP LINK
LECTURES
Before we start this assignment, Mr.Vinod told us that the old era typeface strokes are decided by its materials. For example, Roman is written by brush. The serif part is made by brush strokes. Typefaces difference is made by these material characters.
This video shows how to digitalize typefaces in Adobe Illustrator in the first part. Using tools shape create tools and after make all shapes in AI, we need to compound path.
In this video, Mr.Vinod show us examples for make typeface.
Fig 1.1 Period and dot in the I
This reference shows how punctuations working in typefaces.
Week11:Illustrator to FontLab
This video shows how to export fonts from Adobe Illustrator to FontLab.
This video shows how to set details in FontLab.
This is optional video for preview our font on Blogger.
INSTRUCTIONS
Fig 2.1 Instructions PDF (page11-13)
SUBMISSIONS
TASK3: Handwriting typeface & Digitalization/Week7-11
I made a research before digitalize my typefaces. These are Futura Std Bold Condensed and comparing comma in Gill Sans Bold. I choose this typeface as reference because this is similar as my typefaces and more sophisticated than mine. Also I compared comma because Futura comma is simply straight stroke and I forgot what comma looks in other typefaces.
I thought I’ve done with learning from references (fig ), but I had a lot of mistake in my typefaces. Extension mark is not oblique stroke and it needs to be straight. Tittle part of lowercase I is touched in cap line. These kinds of mistake lose constancy. Also I fixed the gap part because the end part is too much sharp for me. Using pathfinder tool and combine all shapes to export typefaces into FontLab in next step.
REFLECTIONS
Experience... Mr.Vinod told us repeatedly that we need to make strong constancy in our fonts. I thought I could paid attention to font characters and segments, but I failed 3 times. My “attention” is not enough, my satisfaction is really shallow and still need practice my eyes to make designs. However when I overcome font making part and moved to FontLab, Mr.Vinod said us to name for our font. I was really happy with that moment and I feel my fonts like my real child because I was really stuck and suffered by structure part.
WEEK7
Fig 3.1 Font detail dissection, Week7 (6/11/2023)
In week7, firstly we need to find the font details. Mr.Vinod showed us in the class that the fonts seems to symmetry but actually the shapes made by a lot of strokes and circles. I choose Futura Std Bold Condensed/376pt from 10 fonts that Mr.Vinod gave us in previous lecture. The lowercase O is not perfect circle and compared with the O, the G and B is more broken circle. the part touched in straight stroke is gradually getting more thin.
Fig 3.2 Handwriting typefaces by 3 pen, Week7 (9/11/2023)
We suggested by Mr.Vinod to make handwriting typefaces by using 3 pen. Each pen need to make 3 variations. Point size is at least more than 3.0 , flat, cannot use the ball pen because they are too thin to make typefaces stroke. Appropriate paper is graph paper. I choose number 1 in first picture as my best one but it has no constancy. According to Week8 feedback, Mr.Vinod said we need to pay attention to make constancy in typefaces. We need to write them in same angle.
WEEK8
Fig 3.3 “ODHNG” in lowercase, Week8 (18/11/2023)
My typefaces are no constancy and I need to remake them. As a result, they were all failed and still no constancy but I couldn’t notice that. My mistake was I thought that I need to make constancy in stroke thickness. However that is completely wrong and Mr.Vinod said me again and again, “You need to make typefaces in same angle. They are no constancy.” I need to remake them one more time.
WEEK9
Fig 3.4 Remake typefaces, Week9 (23/11/2023)
According to my classmate and Mr.Vinod’s advice, my pen using in past typefaces is too much bold and cannot see the strokes well. I changed my pen to green and more thin one. I continue choosing lowercase letters in this week. I paid attention to the stroke angle as same as others. Some of them have a thin part but it is acceptable in this assignment.
Fig 3.5 Research before digitalization, Week9 (23/11/2023)
Fig 3.6 Uppercase and Lowercase, Week9 (23/11/2023)
I need to compare uppercase and lowercase because of its cap height. I didn’t understand the definition of cap height exactly so I made a cap line in both side. This clearly shows that punctuations and letter “I” are touch in cap line.
WEEK10
Fig 3.7 Progress on the digitalization, Week10 (27/11/2023)
In week10, Mr.Vinod said my art board size was wrong and I need more constancy in my letterforms. Also I forgot to make a stroke art board and it can’t be notice the difference between make outline
Fig 3.8 The example from Mr.Vinod, Week10 (27/11/2023)
I was really stuck in this digitalization, so Mr.Vinod made an example for me. He showed me how to cut and adjust letters.
Fig 3.9 Comma and period, Week10 (30/11/2023)
According to Week10 reference, comma is two times bigger than the period. The angle of comma is same as letter C. Superscript dot is smaller than the period.
WEEK11
Fig 3.10 Guide lines, Week11 (4/12/2023)
Guide lines were measured from baseline(0pt).
Ascender: 656 pt
Cap: 631 pt
Median: 394 pt
Center: 193 pt
Base: 0 pt
Descender: -256 pt
Overshoot: 35 pt
Stem: 124 pt width
Top arc: 158 pt height
Bottom arc: 72 pt height
Cross bar: 93 pt
Fig 3.11 Digitalized Shapes and strokes, Week11 (4/12/2023)
WEEK12
Fig 3.12 Adjust “g”, “d”, “s”, Week12 (11/12/2023)
Regarding to the week12 feedback, my typeface has more point to adjust. Letter g, d, s has a curve in their shapes and they need more round.
Digitalize in FontLab/Week11-12
WEEK11
Fig 4.1 Export “o” to FontLab, Week11 (9/12/2023)
Following Week11 tutorials,We need to export typefaces from AI to FontLab. I had a problem in export fonts, but it is a setting issue.
Note: Check your FontLab7 > Preferences > Check Keep stroke and colors, Import original position, keep position if available
Do not click “Round” when you paste fonts. Click on “Keep”.
Fig 4.2 Progress of kerning letters, Week11 (9/12/2023)
First I set guide lines in FontLab and open metrics tab to set sidebearing number to 0. I started from lowercase n and o because they determine the sidebearing measurements for other glyphs.
Fig 4.3 Kerning certain pair, Week11 (9/12/2023)
Following Week11 sidebearing sample chart, certain letter pairs are having problem in white space. This figure shows letter o and t have a too much space, so I adjust them. Others are using same ways to adjust.
WEEK12
Fig 4.4 Making poster, Week12 (15/12/2023)
After adjust all sidebearing, export own typeface into Adobe Illustrator. We required making A4 poster and write our font name, our name, and the year in Univers LT Std at 8 pt. I set my font point size to 148 pt. My font name, “Deka” is came from Japanese word デカい (Dekai). It means “big, bold”. My font is really bold compared by other student and I really like this kind of bold typeface.
WEEK13
Fig Extra Adjustment, Week13 (18/12/2023)
From week13 feedback, I need to adjust some points. The lines and sentences are need to start and end at same point.
FINAL TASK3 TYPEFACE
Download fonts from here: https://drive.google.com/file/d/1HjJ0rgFk7SwinhJBZjaBgkS02IH07Ffs/view?usp=sharing
Fig 4.5 Final Type construction “Deka”, JPEG, Week12 (16/12/2023)
Fig 4.6 Final Type construction “Deka”, PDF, Week12 (16/12/2023)
Fig 4.7,8 Final Typeface Poster white/black, JPEG, Week13 (18/12/2023)
Fig 4.9 Final Typeface Poster white/black, PDF, Week13 (18/12/2023)
Week7 (Feedback for past task and e-portfolio)
Specific Feedback...You need to put all layouts into same file because it is too messy when you make individual files. The “Unite to” part is needed to move and change letter family into same as “a better world”. Your task1 e-portfolio is need to change its name to task1-exercise1&2. You should avoid to put too many pictures vertically because it loses the readable and understandable.
General Feedback...The body text put on the left corner is loose readable because the readers eye point is move on to the left corner.If you see something and you feel good for it, you need to learn and know what it is. Do not use them with first inspiration without knowledge. The black background makes too strong effect so do not use it in large amounts of screen. 8-12 point size and first you use 12 and check how it working in screen.Columns manage contents. If you put the columns and margins, just follow the columns and margins. Do not press enter twice and make leading. Auto hyphen is not working. The name in e-portfolio is need to similar. Pictures in e-portfolio is need to readable. We need to avoid too many pictures vertically. Clearly remark in Final submission. The background is off-white. Submission is needed PDF and JPEG. If we didn’t do so, it’s considerate to no submission. Your e-portfolio considered as what you learned in this class. So the layout, point size, everything that showed here is what you’ve learned.
Week8 Online (Independent learning week)
Specific Feedback...The option I chose didn’t seem to be consistent in its angle. Mr.Vinod said, “I like the flair but the angle needs consistency.”
Week9
Specific Feedback...You were misunderstood in the making an angle. The practicing letters are make no sense and all of them are different angle. You need to write the letters in same angle so the thin part in the stroke made by that angle is acceptable.
General Feedback... The lower letter “g” is the circle point is touched in baseline but the stroke is needed in the descender line. The capital letters are developed to lower case letters by its speed. The ancestors needs to write capital letters more faster and faster and the minilize born the lower case. Once we write the letters in the angle, we need to make all of them with same angle. Command+Y is only shows the strokes on the screen. Not focus on the stroke, focus on the counter space(the white area in the letters). Shift O and duplicate the art board . “Objet path outline stroke.” In the pen tool, the blush shape changes into the flat and the letter size is set 35 and circularity is 80%, the letters become more elegant. The letter’s end stroke changes to more thin than the other part. Using the letter’s shape that we already made to new letter shape, it makes consistence in overall letters. We can click the smooth tool in AI and reduce the letter size.
Week10
Specific Feedback... Ascender line is high and it needs to more closer to the descender line. X height is too short compared to the bold line thickness. This is practical and it is the clue to next try. The art board size is completely different from the appropriate size. I can use smooth tool in AI and delete the unnecessary anchor point.
General Feedback... If we once write “Updated” in our feedback sheet, that is the last chance to correct the mistakes. The e-portfolio is mark as 30% in this class and if we make mistake in this, it is catastrophic. No need to make long in lecture summary section. It needs to be concise. We need to make clear suggest in final submission. If the lecturer gives us the brief, we need to allow that brief. The files are different from examples means incomplete. Lack of elements are considered as incomplete.No progress in the works are considered no evidence and failed. The designer need to think about the people who see our works. Navigation make viewers comfort and smile in their mind. When we write fast in letter T, the side line is not always same length in both side. Exclamations mark is not slanted. Making extremely huge difference in line thickness is lose visibility in letters.
Week11
Specific Feedback... The end part in stroke is fine. H and N curve is okay but S, C, E is not seems good because it lose constancy in round part. Superscript dot is needed more round. Exclamation mark is needed to taper to the end part.
General Feedback... When we using a pen tool in AI, some path left but we should adjust distortion parts. Press Shift and minus anchor point tool is only delete a anchor point but not break its shape. We need to control the end part in stroke. Pay attention to counter part. Not only black shapes decide its qualities. Make a gap between Exclamation mark and its dot. Overlap part is fine but do not make them looks like a part of fonts. Keep it simple, do not make a mess in typeface. Do not make the same stroke length in typeface is considered as lazy design and no skills to control shapes. Thickness in letterform is the first thing to make a constancy. Add some explain in next week instruction, we need to adjust side space and kerning in just certain pair. When we start at lowercase letters, we can start from letter N and O.
Week12 Online (Holiday)
Specific Feedback... Some segments (letter d, s, g) are still needs adjustment. Make constancy in curve point.
General Feedback... The comma is no need to completely round when we make a square typeface. When we adjust letters pace in large point size, it only allow in large size. Sharp mark is start from base line and touch inn cap line. In poster design, the letters are needs same point size. We need to write name of our font, who made this, when made this. The background is white/black/gray Punctuation is optional.
Week13
Specific Feedback… My stroke and sentences need to start from same point. Set my font detail and my name at same angle with main sentences. Using Univers LT Std Roman. Not Black. I need to write down my font size but no need so many.
General Feedback… Impact is important in poster. Less white space is make more big impact in the screen. Our font size is need big size but allow manners. Line is optional.
REFLECTIONS
Experience... Mr.Vinod told us repeatedly that we need to make strong constancy in our fonts. I thought I could paid attention to font characters and segments, but I failed 3 times. My “attention” is not enough, my satisfaction is really shallow and still need practice my eyes to make designs. However when I overcome font making part and moved to FontLab, Mr.Vinod said us to name for our font. I was really happy with that moment and I feel my fonts like my real child because I was really stuck and suffered by structure part.
Observations... I checked few exist fonts as my reference. Almost all part is same in every fonts but exclamation mark, question mark, comma, period is not always have curve in their dot part. I made lowercase font in this task and had difficulties in find cap height. However when I found cap height, some letters are touched in this line so it is more easy to make fonts. Lowercase letter “T” seems not touching in any lines but the upper side of cross bar touches in median line. These details makes constancy in fonts but I cannot pay attention to gap width. It is my only regret in this task.
Findings... The most big finding from this task is structure of punctuations. Usually I didn’t pay attention to punctuations because they were support our sentence secretly. According to week 10 lecture, comma’s angle is same as letter “S”, superscript dot- the circle in lowercase “I” and “J” is little bit smaller than period, etc. These findings made me surprised how I living my life with no thoughts. It was really good experience for me to study for font structures.
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FURTHER READING
FURTHER READING
Fig 5.1 Typo graphic design: form and communication by Rob Carter,
Philip B. Meggs, Ben Day, Sandra Maxa, Mark Sanders
This book is the definitive reference for graphic designers, providing a comprehensive introduction to the visual word.
Fig 5.2 The Evolution of Typography
In the first part, they shows evolution of typography. Started from 3150 BCE and ended at 2013.
Fig 5.3 Letterforms analyzed
In this part, they analyzed letterforms. This page explain measuring type in spatial intervals. In traditional metal typography, interletter and interword spacing are achieved by inserting metal blocks called quads between the pieces of type. Because these are not as high as the type itself, they do not print. A quad that is a square of the point size is called an em. In metal type, other em quad is called en.
Fig 5.4 Legibility
A closer look at the alphabet reveals additional; characteristics distinguishing letters. The upper halves of letters provide more visual cues for letter recognization than the lower halves.
Fig 5.5 Single column grids
When text appears as a simple, linear narrative, as in the traditional novel or exhibition panel, it is often best to set it as a single block. There exist many ways to orient single text blocks to pages (or other spatial fields). These choices are most often related to budget constraints, standard paper sizes, and the function of typographic information.
Fig 5.6 Syntax and communication
Some typographic designs are seen from different distances (far, middle, close). The viewer’s perceptions are greatly influenced by shifts in the viewing experience. Attention to visual hierarchy and the perceptual environment is vital in graphic media (signage, posters, and exhibitions) where the viewing experience is in constant flux.
Fig 5.7 Banknote design
Cultural diversity was the underlying context for this project. Students were asked to design a series of banknotes in three sequential denominations, both front and back sides.
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