Typographic / Task 3A: Type design and Communication

25/05/2022 - 01/06/2022 Week8 -Week9

Riko Matsuyama (0351470)

Typography / Bachelor of design in creative media

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Lecture

Typo 5 - Letters / Understanding letterforms

The uppercase letter forms below (1) suggest symmetry, but in fact it is not symmetrical. It is easy to see the different stroke weights of the Baskerville stroke form.

FigFig1.1,1.2: letterform difference

The uppercase letter forms (2) may appear symmetrical, but a close examination shows that the width of the left slope is thinner than the right stroke.

Both Baskerville and Univers demonstrate the meticulous care a type designer takes to create letterforms that are both internally harmonious and individually expressive.

    

Fig1.3,1.4: letterform difference

Helvetica and Univers. The complexity of each individual letterform is demonstrated by examining the lowercase 'a' of two seemingly similar sans-serif typeface.

A comparison of how the stems quickly reveals the palpable difference in character between the two.

Fig1.5: x-height

The x- height generally describe the size of the lowercase letterform. However, you should keep in mind that curved strokes, such as in 's', must rise above the median in order to appear to be the same size as the vertical and horizontal strokes they adjoin.

Fig1.6: median and baseline 

Just as important as recognizing specific letterforms is developing a sensitivity to th counter form the space describes, and often contained, by the strokes of the form.

How well you handle the counters when you set type determines how well words hang together.

Fig1.7: typeletter difference

One of the most rewarding way to understand the Forman counter of a letter is to examine them in close detail. The examination also provide a good deal for how the balance between form and counter is achieved and a palpable sense of letterform's unique characteristics.

Fig1.8" letterforms balance

The basic principles of Graphic Design apply directly to typography. The following are some examples of contrast as applied to type, based on  format devised by Radi Ruegg.

The simple contrasts produces numerous variations: small+organic / large+machined: small+dark ...

Fig1.9: Typography 

Fig1.10: differences between several types

Fig1.11: line name

1 Ascender line

2 Cap line 

3 (Ascender space)

4 Median/Mean line

5 (x-height space)

6 Baseline

7 (Descender space)

8 Descender line

Place three letters and create a guideline from them.

Fig1.12: Guidelines

Fig1.13: 10 typefaces

Below are the letters you will design:

a e t k g r i y m p n ! # , .

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Instruction

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Task 3A: Type design and Communication

Fig2.1,2.2: idea sketches

I thought 5 type designs. I referred to Serifa Std from 10 typefaces. I also received feedback from the teacher. He said, If you want to put diagonal lines in letters, you should put them in all letters instead of some. Indeed, I didn't apply diagonal lines to all the letters. The design needs to be corrected. And finally 

I decided on ①

Visual research 

Fig2.3: Serifa Std

Fig2.4: sample font 1

Fig2.5: sample font 2

The general shape of the letters is based on Serifa Std. The atmosphere of the letters was based on the third one. Personally, such crisp and sharp letters remind me of a robot or robot atmosphere. That is why I named it Robot Style. 

Fig2.6: first feedback

First, I made one vertically long rectangle, and made characters based on it. By doing so, the thickness of the characters will be even. 

Fig2.7: diagonal line

And I put a square with the same width at the end of the rectangle. Using the diagonal of the square, I aligned the angles of the diagonal lines at the ends of the letters.

Fig2.8: carve line

The curved parts of a, e, r, t were created using the pen tool with reference the Serifa Std font. For the circles of a and p, I used the ellipse tool and used two circles of different sizes.

Fig2.9: first outcome (29.05.2022)

During week10 class, I gave some feedbacks about own design. He said, It's consist but there are some issues. Apply the base shape to a, r, e, and, p as well because there are normal. Especially for p, ordinary circles are used. 

Fig2.10: week10 feedback

And A, E is same shape of other general font. Also, I need to change the length of t and y. Looking at the whole thing, it's true that my design didn't have a sense of unity.

Fig2.11: how to change, feedback

 The teacher gave me some good advices so I reviewed the design again with reference to it. And when I listened to the teacher's advice, the part that I was not satisfied with my own design was solved.

Fig2.12: y

Fig2.13: a

Fig2.14: g, r

I decided on this for the final design. 

Fig2.15: Final outcome (01.06.2022)

fig2.16: using font lab and adjusting 

Fig2.17: letter kerning, font lab

And I used the software called Font Lab for the first time. Adjusted the width that looks beautiful.

Information:

Ascender line - 750 

Caps height - 713 

X-height line - 540

Descender line - 255

Fig2.18: b, d, o

First, I try to make a poster, 'I am a type god. obey me!".

Fig2.19: Task3 type design and communication poster (02.06.2022)(.jpg)

Fig2.20: layout process

Make a poster for the final outcome. I used a rectangular ruler to prevent the width from falling apart.

The text is "make time, #great again!".

Fig2.21: layout process 2

I thought 4 layouts, It was a little difficult to think about the balance between words. I tried a few things to make it bigger, smaller, wider and closer.

Fig2.22: 4 poster layouts

Task 3A: Type design and Communication Final outcome

https://drive.google.com/file/d/14UgjiasMLzoMttvK-Tt1KI1Hd0QPn0-v/view?usp=sharing

Fig2.22: Task3 type design and communication final outcome, Robot Style (02,06,2022)(.jpg)

Fig2.23: Task3 type design and communication poster final outcome (03.06.2022)(.jpg

Fig2.23: Task3 type design and communication poster final outcome (02.06.2022)(.pdf)

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Feedback

Week9

Specific Feedback: If you want to put diagonal lines in letters, you should put them in all letters instead of some.

Week10

General Feedback: It's consist but there are some issues.

Specific Feedback: O's ball, and E is same of other font. Apply the base shape to a, r, e, and, p as well because there are normal. Especially for p, ordinary circles are used. Change the length of t and y.

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Reflection

Experience

When I was a junior or high school student, I sometimes  create a poster or newspaper in class and think of typography independently. But it was for the first time to learn typography in detail and make own type design. So It became a good experience that I could make own type design. Durning feedback time, Mr Vinod gave me advice. And It was a great experience for me to see how they actually make it. This resolved any doubts I had about my own design.

Observation

Before I start, I researched on internet, it was interesting because there were many type designs. I didn't choose but horror font or creepy font were imagined especially. It was also fun to look classmates type design. And I noticed that moving just a few parts can change the impression of the overall lettering. Balance, cavity size, and line width are important.

Findings

As I mentioned a while back, when I get one good idea, I tend to stop thinking from there. I often try to go with that one idea. Even if I come up with several ideas, they end up being similar. I want to improve these behaviors. I'd like to be able to come up with more varied ideas.

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Further Reading 

< Typography Referenced >

Allan Haley, Richard Poulin, Jason Tselentis, Tony Seddon, Gerry Leonidas, 

Ina Saltz, Kathryn Henderson with Tyler Alterman

Designing with type is as much a science as an art, requiring a delicate balance between all items in the format to deliver appropriate and functional solutions. Contrasts (230) in size, shape, tone, placement, and color all factor into how elements placed in the format look.

These script typefaces intentionally look informal or quickly drawn. Often they appear

drawn with a brush. Typically, character strokes connect one letter to the next.

These typefaces look like manuscript lettering prior to the invention of movable type.

These typefaces and their revivals were used for display applications between the mid 1800s and early

1900s. They have a distinct feeling of time and place.

These typefaces defy simple pigeonholing. They can look like letters cut from stencil or decorated with 

flowers, or can appear three-dimensional. Some use unorthodox letter shapes and proportions to achieve distinctive and dramatic results.

Being visually literate allows the designer to give words and images shape, bringing it all together as a composition created within the required format.

Designing with type requires not only an understanding of what makes a serif and what makes a sans serif, but also a working knowledge of their use and even a small appreciation of the individual attributes that make one font different from another, as well as how they interact when placed together.