Typography / Task 3: Type Design and Communication

 10/10/2022 -    /10/2022   /  Week 7- Week 

Hisham Rasheed / 0356691

Typography / Creative Media / Taylor's Design School

Exercises

Task 3: Type Design and Communication

Lectures

Typo Task 3A Typeface construction (Shapes)


1. Research
2. sketch (about 5 to 6) 
3. find a proper reference (among the 10 typefaces) 

4. Deconstruction - create a typeface


X-height should be 500pt X 500 pt


Use guides to identify the x-height, ascender, capital, and descender lines.

Typo_Task 3A_illustrator To Fontlab5 Demo


Make sure to combine the letterforms by using shape-builder tools.

1. File - font info -metrics (key dimensions)


2. Double-click on each letter cell -  bring y axis close to a letter - copy and paste


3. Metrics - Adjust kerning

4. Double-click on the space cell to create a space


5. file - generate font - save

Instructions



Fig 1.1.1 Typography task instruction




Task 3: Type Design and Communication

Design a font based on resources from research and deconstruction of reference typeface.


Research



Fig 1.1.2 ' A modern Serif ' 

https://pin.it/s78cEc3


Fig 1.1.3 ' 70's Vintage Fonts ' 

https://pin.it/5IjAfcb


Fig 1.1.4 ' A Constructed Roman Alphabet'

https://pin.it/YZLl4fQ

Fig 1.1.5 https://pin.it/5rqPvpK


Fig 1.1.6 ' Set of Quotation marks '

https://pin.it/3fhVBLS

Deconstruction

I picked Serifa std and chose to deconstruct the letters e, t, and r.


Fig 1.2.1 Deconstructed e, Week 8 (21/10/22)


Fig 1.2.2 Deconstructed t, Week 8 (21/10/22)

Fig 1.2.3 Deconstructed r, Week 8 (21/10/22)

Sketches

Fig 1.2.4 Font sketch 1 week 8 (21/10/22)


Fig 1.2.5 Font sketch 2 week 8 (21/10/22)


Fig 1.2.6 Font sketch 3 week 8 (21/10/22)

Digital version

I was going for a font that was thicker to the left compared to the right as in giving a drop shadow effect from the right side. This font was derived from the second sketch Fig 1.2.5 where all the strokes had equal widths and noncurvy edges. 
Fig 1.2.7 Digital version week 9 (21/10/22)


Measurements (from baseline)
Ascender: 330 pt
Capital height: 305 pt
Descender: -74 pt


Fig 1.2.8 Font with guides week 9 (21/10/22)





Fig 1.2.9 progress of the font  week 9 (21/10/22)




Fig 1.3.1 Progress of FontLab week 9 (28/10/22)




Fig 1.3.2 Progress on Fontlab week 9 (228/10/22)

Final Submission of Typeface


Fig 1.3.3 Final Submission of Typeface week 10 (5/11/22)



Fig 1.3.4 Final submission of Typeface ' Hisham ' (pdf) (5/11/22)

Google drive link for font download

Final Submission of Poster



Fig 1.3.5 Final Submission of Poster week 10 (5/11/22)



Fig 1.3.6 Final submission of poster (pdf) (5/11/22)


Feedback

Week 11

I was not present in class including the previous weeks for feedback.

Reflection

Experience

Working on task 3 was something that really piqued my curiosity. By using Illustrator and Fontlab, I was able to become proficient in the creation of typefaces. My eyes have been opened by the experience of doing this work. I used to believe that I did not have a significant interest in typography and that I did not have a sufficient comprehension of it because, to me, it has always felt like a subject that demands more rules and processes than it does creativity. Having said that, while I was working on this endeavor, my thinking shifted.


Observation

It has come to my attention that the majority of typefaces, despite their seeming uniformity and evenness, undergo a great deal of change in order to appear constant. These changes include overshoots and proportions. When establishing a typeface, it is essential to pay attention to such details and minutiae since they form a consistent font when it is seen.


Findings

In terms of class content, I learned that it is important to align angles, thickness, curves, and other spatial details in order to unify the letters and that it is important to balance this with an awareness of making the alphabet shape easier to read.


Further reading

For further reading, I chose "Typographic Design: Form and Communication" from the recommended readings.



Fig 1.4.1 Typographic Design: Form and Communication (2015)


Due to the fact that many forms within an alphabet seem visually erroneous, mechanical and mathematical letterform creation can generate major spatial issues. These variations of typefaces demonstrate the optical correction required to establish aesthetic harmony within a typeface. These modifications are typically invisible to the reader because they are so subtle. However, they produce a more unified and organized appearance when combined.













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