Typography - Project 2
01/11/17 - 15/11/17 (Week 9 - Week 11)
Seoh Yi Zhen (0328497)
Typography
Project 2 - Font Design
Typography
Project 2 - Font Design
LECTURE NOTES
Lecture 9
01/11/17 (Week 9)
No lecture was conducted.
Lecture 10
08/11/17 (Week 10)
This week, Mr Vinod explained to us some basics in typesetting long bodies of text. Kerning is when you minus space in between individual letters; letterspacing is when you add space. And tracking is when you have both present in a body of text. Leading refers to the spacing in between lines.
When reading, the counterforms of letters are so important because we actually recognize patterns of words, instead of reading each letter individually. Therefore, there must be an evenness of positive and negative forms in a long body of text. This is referred to as gray value.
Lecture 11
15/11/17 (Week 11)
No lecture was conducted.
01/11/17 (Week 9)
No lecture was conducted.
Lecture 10
08/11/17 (Week 10)
This week, Mr Vinod explained to us some basics in typesetting long bodies of text. Kerning is when you minus space in between individual letters; letterspacing is when you add space. And tracking is when you have both present in a body of text. Leading refers to the spacing in between lines.
When reading, the counterforms of letters are so important because we actually recognize patterns of words, instead of reading each letter individually. Therefore, there must be an evenness of positive and negative forms in a long body of text. This is referred to as gray value.
Lecture 11
15/11/17 (Week 11)
No lecture was conducted.
INSTRUCTIONS
PROJECT 2
Week 9
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| Fig. 1.1: Idea generation. |
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| Fig. 1.2: Idea generation. |
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| Fig 1.3: Sketches of finalized design. |
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| Fig. 1.4: Sketches of finalized design. |
Week 10
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| Fig 2.1: Digitization of font in Adobe Illustrator. |
Week 11
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| Fig 3.1: Adjusting the letterspacing in FontLab Studio. |
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| Fig 3.2: Finished font. |
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| Fig 3.3: Overview of all the glyphs. |
FEEDBACK
Week 9:
Study more on Art Deco fonts and use that as my inspiration. Mr Vinod said that three out of five of my font designs could be used if I continued to work on them some more. For the digitization of my font, he reminded me that even though some parts are supposed to be pointed, he said to leave a narrow edge so that it doesn't look as if it's continuing on forever. He also said to build the structure using strokes first then adjust the widths later so that I can do the work faster.
Week 10:
Mr Vinod said that I was doing fine so far and to carry on. He told me to look at references for the punctuations because I was struggling with the quotation marks. He also helped me adjust some of the numbers.
Week 11:
Some of the curves need to be smoother (letters p and q), and some of the stroke widths need more adjustment (6, 9, ? and @). The letterspacing that I did so far is quite even. I submitted my font design printouts after making these changes and finishing up the letterspacing for all the glyphs. Mr Vinod said I did a good job with this project.
Week 11:
Some of the curves need to be smoother (letters p and q), and some of the stroke widths need more adjustment (6, 9, ? and @). The letterspacing that I did so far is quite even. I submitted my font design printouts after making these changes and finishing up the letterspacing for all the glyphs. Mr Vinod said I did a good job with this project.
REFLECTION
Experience:
In week 9, a lot of research had to be done before designing our fonts so that we can learn how each letter is supposed to be built. It was really interesting to study about this, because there are so many details and conventions I never knew that went into font designing. Week 10; I struggled with the digitization in Illustrator because it was really hard to adjust the stroke widths so that they mimicked handwriting stress. Week 11; it was really satisfying to see my font typed out.
Observation:
Week 9; I gravitated towards art deco styles even though I myself didn't realize it. Week 10; there are so many details involved in designing a font, which is why having a reference really helps with understanding individual letterforms. I realized I became more observant of typefaces after digitizing my font. Week 11; adjusting the letterspacing was a bit tricky as only some of my letters have serifs.
Findings:
Week 9; even though art deco fonts are supposed to be built on geometric shapes, there is also a mix of condensed letters that balances out the wider, geometric letters. Week 10; it is important to maintain the same stroke width for all the letters so that a consistent gray value is produced. Week 11; letterspacing has to be adjusted accordingly based on each individual letter so that it will look consistent overall in a body of text.
01/11/17 - 15/11/17 (Week 9 - Week 11)
Some of the typefaces that I studied when designing my own font.
Typeface: Garamond
Week 9; even though art deco fonts are supposed to be built on geometric shapes, there is also a mix of condensed letters that balances out the wider, geometric letters. Week 10; it is important to maintain the same stroke width for all the letters so that a consistent gray value is produced. Week 11; letterspacing has to be adjusted accordingly based on each individual letter so that it will look consistent overall in a body of text.
FURTHER READING
FONT by Tamye Riggs with James Grieshaber01/11/17 - 15/11/17 (Week 9 - Week 11)
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| Fig 4.1: FONT |
Some of the typefaces that I studied when designing my own font.
Typeface: Garamond
- Designed by Claude Garamond.
- A class of Old Style Serif faces.
- Also known as the subclass Garalde.
- Based on the Venetian Old Style type.
- Much of the lowercase was based on the handwriting of Angelo Vergecio, librarian to Francis I.
Typeface: Futura
- Designed by Paul Renner.
- Inspired by the typographic experimentation of the Bauhaus school.
- Loosely based on simple geometric shapes.
- Renner agreed that a "modern" typeface should express a contemporary point of view rather than be based on an existing design.
- The most popular Sans of the mid-twentieth century and inspired many Sans types after its release.
Typeface: Gill Sans
- Designed by Eric Gill.
- Greatly influenced by Edward Johnston, who designed the typeface used for the London Underground signage.
- Became popular immediately upon its commercial release.
Typeface: Optima
- Designed by Hermann Zapf.
- Inspired by the marble letters on the graves of Florentine families displayed in the Basilica of Santa Croce.
- Based on classic Roman letterforms in proportion and character, but absent of serifs.
- Features tapered stems- a trademark quality not found in other Sans types.
- A great success when released.
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