Advanced Typography - Task 3 Type Exploration and Application

Edita Chew En Thung / 0357357 

Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University

Task 1 / Exercises: Typographic Systems & Type & Play

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Table of Contents

1. LECTURES

2. INSTRUCTIONS

3. PROCESS WORK 

      i.  RESEARCH

      ii. FINAL

4. FEEDBACK

5. REFLECTION

6. FURTHER READING

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LECTURES

All lectures are completed in Task 1 & Task 2

INSTRUCTIONS

fig 1.0 | Module Information Booklet

Week 7

This project can take one of three forms:

1. Font Creation for Problem-Solving: Design a font to address a specific challenge in your area of interest, such as graphic design, animation, new media, entertainment design, or any other related field. The final product will be a complete generated font (.ttf) with practical applications.

2. Exploring Existing Letterforms: Investigate the use of an existing letterform in your chosen area. Understand its current relationship within the context, identify areas for improvement, and explore solutions or combinations to enhance its value. The outcome will be a complete generated font (.ttf) with applications. (I chose this for my final project)

3. Experimental Typography: Engage in a novel and unique experiment with typography. This could involve working with unconventional materials, creating a typographic music video, or developing fine art. The final output will be defined by you and should reflect your creative exploration.

To be effective, you will need to study your selected area, analyse how typography is used, and identify potential areas for improvement or further exploration. Your goal is to provide a creative solution, enhance existing use, or produce a unique and novel outcome. The final work can take various forms, including animation, 3D, print, ambient displays, projections, movie or game titles, music videos, or the use of different materials.

PROCESS WORK

Research

fig 1.1 | Presentation slides (ideation & proposal analysis)

Inspiration

Font: MLB Tuscan

Inspired by the classic Tuscan font, my new vintage typeface brings the charm of the 1800s to life. It features bold, decorative letters with detailed designs, reminiscent of old signs and prints. Each letter is carefully made to look both stylish and easy to read, perfect for titles, posters, and any design that wants to mix old-fashioned beauty with a modern touch.

fig 1.2 | Source HERE.

Initial Sketches

fig 1.3

I started to sketch out the letters A-G as a draft and brainstorm some ideas with the font inspiration, "Tuscan" in mind.

fig 1.4

I tried an experimental font with retro vibes; this was a testing drafted sketch to see the options and variety I have in my hands.

fig 1.5

After all that research and findings I went back to my initial idea but removing the highlights and spaces that I erased on the type previously, as per advice from my lecturer.

fig 1.6 & 1.7

Then I digitalised my draft only from my sketches of A, B, C and O. I first formed the letters A and O to form the other letters easier as I referenced them from my first digitalised letters of A & O. This took me about 3 days to complete the whole set of caps, lowercase letters, and punctuations. The Numbers 0 to 9 were done within 3 hours.

Transferring to Fontlab 7

fig 1.8

fig 1.9

fig 2.0

fig 2.1

After transferring the letters, numbers and punctuations one by one, I started ti kern and track them and adjusting their bearings according to the chart Mr Vinod, our lecturer gave.

Font presentation(s) Process:

fig 2.2

I started with randomly choosing some colours to see the better fit colour palettes for my presentation. Beige and red were the first chosen colours, and "The Saint" was a dummy text to see if it fits with the overall visual.

fig 2.3

I found that red was rather too gruesome/bold and acted as a bloody artwork or warning sign, so I decided to change it to a shade of blue.

fig 2.4, 2.5, 2.6 & 2.7

After I proceeded with changing the rest of the type and design blue, I added some illustrations to aid with the vintage-like visual design. And to further enhance the design, I chose an accent colour (orange) that would make the design more whole.

fig 2.8

fig 2.9

After that, I decided to change the heading to orange as well to make it stand out as the main visual. Furthermore, I started on the second artwork font presentation and left the first artwork presentation aside and come back to it later. The objective is to showcase the application in column and paragraph format, showing the versatility of the font.

fig 3.0

 I made the 2 columns side by side and Separated the V from vintage and changed the colour to orange to highlight the importance and some words were also contrasting to the rest of the text to show some variety and hierarchy of the elements using colours.

fig 3.1

I chose my colour palette wisely that closely suits the vintage aesthetics of my font. 4 colours and one being an accent colour to make the overall design stand out, orange being the accent colour.

fig 3.2

The 3rd artwork was to showcase the type on a poster-like composition and covering background of the character. I created a rectangle and a silhouette of a person and have it minus front and make a compound shape. Then, I use the type tool to type the paragraph inside to create the effect, making the text around the person.

fig 3.3 &3.4

I further pondered back to my first artwork and added some minor illustrations to make the text appear on a stamp-like composition, showcasing the flexibility of the font yet again. Then I added a transparent png texture on top of it once I feel satisfied of the changes.

fig 3.5

I then worked on the 4th and 5th artwork, showcasing all the letters, caps and lowercase, punctuations and numbers on the 5th artwork.

fig 3.6

I had displayed all the letters, punctuations, numbers in the 5th artwork of the font presentation.

FONT APPLICATION PROCESS:

Mockup 1

fig 3.7

I changed the colour of the handle and interior of the mug to orange and created a clipping mask in photoshop.

fig 3.8

The outer was also done the same with a clipping mask, but with blue this time, with the same colours of my colour palette.

fig 3.9

Lastly, I added my prepared design to be the front design for the mockup and photoshopped it with clipping masks and layers of highlights and shadows.

Mockup 2

fig 4.0

I edited the person at the center with halftones and then the hues as well, only then I expanded the generative ai in photoshop to get the rest of his shoulders look fuller to fill the corners of the poster later on.

fig 4.1

After that, I blended the picture I photoshopped and used the luminosity blend and pasted it on the mockup and poster I did earlier.

Mockup 3

fig 4.2

I started with the title "Romeo & Juliet" and proceeded to add the crowd at the bottom of the poster and multiply, blending it. Then, added some illustrations to make up the poster look like a theatre.

fig 4.3

The poster was coming together as I finished adding the touches and text.

Mockup 4

fig 4.4

I placed the letters on a random correlated position in a darker shade of blue and the background was a brighter shade of blue. The main title was scattered and I used a light colour from my colour palette to make it stand out.

Mockup 5

fig 4.5, 4.6

I made a dark brown book design by using illustrator and placed a simple illustration and typed the title. Finally, photoshopping in Photoshop to create a realistic book mockup with my font.

FINAL

FONT PRESENTATION (5 artworks)[1024 px; JPG 300 ppi]

fig 4.7

fig 4.8

fig 4.9

fig 5.0

fig 5.1

FONT APPLICATIONS (5 artworks)[1024 px; JPG 300 ppi]

fig 5.2

fig 5.3

fig 5.4

fig 5.5

fig 5.6

Font Download :

. OTF HERE. 

.TTF HERE.

FEEDBACK

Week 8:
General feedback:
-N/A

Specific feedback:
-N/A

Week 9:

General feedback:

- N/A

Specific feedback: - N/A

Week 10:

General feedback:

- interpretation is key.

- be consistent - have an overshoot because the baseline and the letterforms are very very thin

Specific feedback:

- just do a vintage font

- start with "o" and "a" first.

- okay, I like it, but it looks threatening. it has a threatening look, so maybe you can introduce some curves to not make your design/letterform look rigid.

- take out the highlight thingy.

Week 11:

General feedback:
- N/A

Specific feedback:
- Everything looks good to go, just blunt the edges and scale it correctly on the artboard.

Week 12:

General feedback:
- N/A

Specific feedback:

- N/A

Week 13:

General feedback:
- N/A

Specific feedback:

- Change to a transparent png texture.

REFLECTION

Observations 

 

Within the framework of this project, I was looking for the value proposition to create a purposeful typeface; adhere to the concepts of design consistency/identity. Which leads me to one colossal bit of conclusion: It would be pertinent to stress the effective need to be consistent with the type of the typeface. Even the slightest deviation from this organization became difficult due to the disruption of the rhythmic flow; and hence contributed to both the aesthetic and cognitive characteristics of text layout and design. This made me understand that since there was need to ensure that there was consistency, there was so much that had to be paid I mean the thickness of the lines, the shape and the proportion of the characters among others. These consistency values are the ones that enable a typeface to be recognizable and impose a character that makes it ready for the intended usage. 

 

Findings 

 

In doing so, I understood that reproducing typeface in the various uses was necessary so that the typeface could be coherent and adequate. Other tests in this area involved the appreciation of typeface on paper, the computer screens, architectural surfaces, sizes, and the fathom of contrast besides how it related with backgrounds. With this activity, it was clear that more changes must be made regarding the distance between the characters and the overlap in the text, to make the texts better looking and easier to read. Furthermore, I realized that persuasiveness of a typeface is not inherent in the typeface’s design but the application of the typeface. Indeed, application can also be worked up and down to enhance or reduce its effectiveness. 

 

 Conclusion 

 

Therefore, not only the characters of the purposeful typeface but some aspects concerning its design consistence, identity and application is also involved. From this project, the observations made and the findings performed extended the vision of the significance concerning the attention towards details, as well as the test in several applications. So, managing the typeface slab and checking whether the chosen typeface matches the application, enabled me to create the typeface which not only looks uniting but works effectively. From this project, I have learnt a lot both on typography and the interaction which is required in order to design efficient and beautiful typeface.

FURTHER READING

In this project, I focused on creating a purposeful typeface that is consistent in design and identity. I observed that maintaining uniformity is crucial. Even small inconsistencies can disrupt the harmony and affect readability and aesthetics.

I found that testing the typeface in various applications, such as print and digital media, is essential. This helps identify and fix issues like spacing and kerning to maintain consistency and visual appeal across different contexts.

In conclusion, creating an effective typeface requires a holistic approach. By paying attention to detail and rigorously testing the typeface in various contexts, I was able to create a typeface that is both functional and aesthetically pleasing. This project has deepened my understanding of the intricate balance needed in typography.

fig 5.7

Personal Further Reading : Designing Type by Karen Cheng 2nd Edition

I have bought this book and read through it in my free time.

"Designing Type" by Karen Cheng, now in its second edition, is a comprehensive guide aimed at typographers, graphic designers, and students. The book covers the technical aspects of creating typefaces, addressing both the visual principles and the detailed processes involved in type design. The 2nd edition has been fully updated to include contemporary typefaces, expanded discussions on key design principles such as optical compensation and legibility, and a new chapter that addresses broader issues in type design. It features case studies and illustrations that link text with corresponding images, enhancing understanding of how individual design decisions impact overall typography. This makes it a valuable resource for both newbies and experienced professionals looking to deepen their understanding of type design.

fig 5.8