Typography task 3: Type Design & Communication

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 23 May 2023 - 20 June 2023/ Week 8 - Week 12
Simon Ko Jing Liang 0364359
Typography / Bachelor of Design (Honours) in Creative Media
Task 3(A) Type Design & Communication


Lecture


INSTRUCTION



Research


Fig 1 (19 May 2023)
The figure shown the basic of typography,such as X-heigh and baseline.




Fig 1  (20 May 2023)
This font style is called Nothing you could do by Kimberly Geswein.It is characterized by a vaguely slanted font.


Fig 2(20 May 2023)
This font style called Oooh Baby and designed by Robert Leuschke.It also has a little oblique and has arc in its design.


Fig 3(21 May 2023)
Serif and Sans- serif: Serif and Sans-serif are two distinct typeface classifications commonly used in typography.The primary difference between them lies in the presence or absence of small decorative strokes, knowns as serifs, at the ends of the characters. 


Fig 4(30 May 2023)
The circled area in the figure is called bracketed/adnate.


Fig 5(30 May 2023)
The circled area in the figure is called unbracketed/abrupt.



Fig 6 (10 June 2023)
Sacrameto designed by Astigmatic. What they have in common is that each letter will have a certain arc.


Exploration 


fig 1 (16 May 2023)
Use the 5 different tools to practice and write the "a o t m x" , horizontal, vertical, oblique and circle. 


fig 2  (20 May 2023)
Sketches of other different tools 


fig 3 (21 May 2023)
Sketches of other different tools 


fig 4 (22 May 2023)
Sketches of other different tools 


Sketch


fig 5
(22 May 2023)

After finished the research and the exploration of the 5 different tools, I choose fine because it is commonly in handwriting and I think it is interesting when I designing the style.

In 10 types of typefaces, futura font(futura book oblique)  is more similar to my sketch.Futura Book Oblique is a specific style and variant of the Futura typeface. It is a popular geometric sans-serif typeface designed by Paul Renner and first released in 1927. The Book Oblique variant refers to a moderately bold weight with an oblique slant, combining a heavier stroke with a slight italicized angle.


Deconstruction of letter

Fig 6 Deconstructed 'A' (30 May 2023)
Futura Book Oblique font's letter A is made up of diagonal lines that form a triangle shape with a pointed angle and are joined by a crossbar and a vertical line in the centre.



Fig 7 Deconstructed 'R' (30 May 2023)

In Futura Book Oblique typeface, the letter R has a vertical stroke, a curved bowl, a vertical leg, and a slanted leg serif.
Fig 8 Deconstructed '(30 May 2023)

Futura Book Oblique typeface's letter "M" has vertical lines, curved angles linking the vertical lines at the top, a horizontal line connecting the curved angles and a modest italic slant, resulting in a modern, clean design with a touch of dynamic style.



Digital Exploration



Fig 6 (25 May 2023)
    The guide is followed by the lecture video that created by Mr. Vinod. From the top to bottom are ascender, median, baseline and descender.



Fig 7 (25 May 2023)
This is my first digitalize of the letters. The bottom of the letters can see that there have small protrusion.


Fig 8 (10 June 2023)
After I finished the first digitalize, I saw that there are some parts of the letters are weird. Then, I brainstorming and change the line to a line that left small right wide.


Fig 9(11 June 2023)
This is the letter A that I used the line which is left small right wide, so can see that the top of A is thinner and the bottom of it is wide.



Fig 10 (11 June 2023)

The letter T is made by two lines that a horizontal and vertical.Each of the line is left thinner and letter K is different. Letter K is the right part wider and the junction is thinner.




Fig 11(21 June 2023)
Final design in Adobe Illustrator.Each of the vertical line has a certain tilt.

Measurements (from baseline)
Ascender: 750 pt
Capital height: 700 pt
Median: 500 pt
Descender: -175 pt

Developing in Fontlab 7



Fig 12 (21 June 2023)
After developing the letters and the evolution of letters in Adobe Illustrator, copy the letters into Fontlab 7 that according to the lecture video prepared by Mr. Vinod.


Fig 13 (22 June 2023)
I did the individual kerning for each glyph in the metrics tab after copying all letters into FontLab7, as seen in the instructional video. In the 'font info' tab, I also put in the font information and measurements (ascender, descender height, and etc.

Final Outcome


Fig 14(23 June 2023)
I created a poster and smaller articles to illustrate the final font design after exporting the font and installing it on my laptop. 

Final Task 3A: Type Design and Communication



Fig 15(23 June 2023)
 Final Task 3A: Type Design and Communication "XIKFINE Demo" 



Final output 

Fig 16 "XIKFINE" Typo Poster A4 (23 June 2023)




Feedback

Week 9 Start the digitalize of the each letters and pronunciation.

Week 10 The letters should maintaining a consistent visual style and cohesiveness.

Week 11 Change the pronunciation and finish the poster A4

Week 12 Change the angle of the letters

Reflection

Experience
It was an intensive and satisfying experience to design Type Design and Communication. I experienced various hurdles and possibilities for progress as I went into the field of typography and visual communication. Experimenting with different fonts, researching their historical background, and comprehending the complexities of letterforms gave me a greater respect for the art of type design.

Observation
Many observations I made during the design process contributed to developing my idea of good type design and communication. First and foremost, I saw how powerful typography is in conveying meaning and evoking emotions. The typeface, letter spacing, and line height of a message may all have a significant impact on its tone and readability.

In addition, I saw the importance of balancing readability and expressiveness in type design. Although legibility is vital, a typeface should also have a distinct personality that corresponds to the desired message or brand identity. Striking this equilibrium was difficult, with careful consideration of both utilitarian and aesthetic factors.

Findings
I discovered several crucial insights when designing Type Design and Communication that will inform my future design work. For starters, the significance of rigorous investigation became clear. The efficacy of my design selections was largely affected by my understanding of the target audience, the goal of the design, and the historical context of typography. This conclusion emphasised the need of undertaking thorough research at the start of any design project.Collaboration and criticism have also proven to be important in the design process. Seeking feedback from peers and mentors enabled me to obtain new views, find areas for growth, and fine-tune my design ideas. Participating in constructive discourse and actively seeking criticism aided my development and allowed me to generate more refined and intelligent ideas.Thorough study is required to grasp the typographic audience, purpose, and historical context. Collaboration and feedback are essential for fine-tuning designs. Typography extends to digital platforms, necessitating the use of responsive design and screen-based interfaces.

Further Reading


Fig 16 
The Elements of Typographic Style by Robert Bringhurst

 This book delves into the finer details of typography, including principles of type selection, spacing, and typographic syntax. It offers practical advice and examples for creating well-crafted typography.