Typography - Project 2
17/5/2019 - 31/5/2019 (Week 7 - Week 9)
Thaqif Syarafuddin(0331337)
Thaqif Syarafuddin(0331337)
Typography
Project 2 : (Font Design)
Lecture Notes
Lecture 7 : Text (p1)
17/5/2019 (Week 7)
This week, we were lectured about the formatting of text. The reduction of space between the letters are called kerning. Kerning is done to make the reader feel "comfortable" when reading a block of text. Also we learned about ragging of a block of text after it is aligned. Too tight or too loose of letter spacing might not make the word readable. Mr Vinod gave advice not to justify the text as it will create rivers which are spaces in body text or uneven color in body text. He also said that good design has subliminal effects and different types suits different message. He then showed us a wedding invitation card with 2 different typefaces to discuss the comparison.
Holy Trinity for a block of text : Type size, leading, line length
Type size : 8-12
Leading : pt size + (3 or 4)
Line length : 40-60 characters
"The devil is in the details." - Jane Jacobs
Lecture 8 : No lecture
Holy Trinity for a block of text : Type size, leading, line length
Type size : 8-12
Leading : pt size + (3 or 4)
Line length : 40-60 characters
"The devil is in the details." - Jane Jacobs
Lecture 8 : No lecture
24/5/2019 (Week 8)
We continued digitizing our own type.
Lecture 9 : Text (p2)
We continued digitizing our own type.
Lecture 9 : Text (p2)
31/5/2019 (Week 9)
The lecture for this week is the continuation of lecture 7 which is formatting text. The first formatting we learnt was paragraph and its spacing. When using a pc, shift + enter to get a force linebreak and enter to create a new paragraph. The symbol of a paragraph is called a 'pilcrow'. If wanting to use indentation, one must only use it when the body of text is left justified. Another way to indicate a paragraph is by using extended paragraphs which is the opposite of indentation.
There is also widows and orphans which Mr Vinod said that the understanding of it differentiates the caliber of a designer. A widow is a short line of type left alone at the end of a column while an orphan s a short line of type left alone at the start of a new column. The only solution to widows is to rebreak your line endings through out your paragraph so that the last line of any paragraph is not noticeably short. Orphans require more care to make sure that no column of text starts with the last line of preceding paragraph.
Highlighting text has many ways of doing it.
- italics
- bold
- change type family (need adjustments due to difference in size)
- change points size
- change text color
- colored background
- quotes
Headlines.
A : headline is placed above the body text or another column (bold, different points, different types.
B : this headlines are used as a subordinate to headline A as it does not interrupt the text as strong as headline A does. It is placed directly above the body of text.
C : This heading is placed at the starting of the body text and has an em space for visual separation from the body text.
The lecture for this week is the continuation of lecture 7 which is formatting text. The first formatting we learnt was paragraph and its spacing. When using a pc, shift + enter to get a force linebreak and enter to create a new paragraph. The symbol of a paragraph is called a 'pilcrow'. If wanting to use indentation, one must only use it when the body of text is left justified. Another way to indicate a paragraph is by using extended paragraphs which is the opposite of indentation.
There is also widows and orphans which Mr Vinod said that the understanding of it differentiates the caliber of a designer. A widow is a short line of type left alone at the end of a column while an orphan s a short line of type left alone at the start of a new column. The only solution to widows is to rebreak your line endings through out your paragraph so that the last line of any paragraph is not noticeably short. Orphans require more care to make sure that no column of text starts with the last line of preceding paragraph.
Highlighting text has many ways of doing it.
- italics
- bold
- change type family (need adjustments due to difference in size)
- change points size
- change text color
- colored background
- quotes
Headlines.
A : headline is placed above the body text or another column (bold, different points, different types.
B : this headlines are used as a subordinate to headline A as it does not interrupt the text as strong as headline A does. It is placed directly above the body of text.
C : This heading is placed at the starting of the body text and has an em space for visual separation from the body text.
Instructions
Project 2
Week 7For our next project we were task to dissect a chosen typeface out of the given 9 and create our own typeface based on what we have studied. The typeface that I have chosen to study and dissect is Futura. These are a few attempts on sketching my own typeface.
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| Fig. 1.0 : attempt 1 |
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| Fig. 1.1 : attempt 2 |
This week we digitized and refine our typefaces.
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| Fig. 1.2 : digitization |
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| Fig. 1.3 : digitization |
Week 9
This week we finalize our types and generate it into a real font with FontLab 5.
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| Fig. 1.4 : Adjusting the kerning and tracking (typeface: Thaqif) |
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| Fig. 1.5 : Generate in FontLab |
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| Fig. 1.6 : Finalized typeface of "Thaqif" |
Then we are suppose to create a composition of "i survived mr.vinod and mr.sam's class." using our own typefaces.
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| Fig. 1.7 : Composition 1 |
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| Fig. 1.8 : Composition 2 |
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| Fig. 1.9 : final composition |
PDF files of the finalized typeface and artwork.
Feedback
Week 7:
Mr Vinod and Mr Shamsul said that my layout was good but the space/whitespaces needs to be properly spaced or consistent. Also, general feedback given is that the images in the e-blogs need to be captioned with proper description.
Week 8:
Mr Shamsul said that my type looks good but the letter "r" needs to be fixed. He didn't really like the letter "e" either as he said it looks weird. However, after he looked at the whole type family it makes sense on why I added the angle characteristic
Week 9:
Mr vinod commented on my letters "i" , "v" and "s" saying that there are small adjustments needed to be assesed such as the x height of it and the letter "v" should not have a pointed bottom but have a cutoff one.
Experience :
Week 7;We were ask to preview our work to the whole class and stand behind a page layout that we personally liked. I was also struggling to sketch out my own typeface and not accidentally copy the studied typeface. Week 8;We did sketches of our typeface and digitized it by the end of class. It was so hard to do the letter "s". Week 9; We finalized our digitization work and input it into FontLab 5.
Observation :
Week 7; People have their own take and taste on what they like. Week 8; A lot of people did their sketches very neatly which I didn't. Week 9; I saw a lot of very nice fonts that was created by my peers.
Findings :
Week 7; I noticed that making an analysis of something is not that easy. Week 8; I should do my sketches on graph paper which would help me refine it more. Week 9; The fonts looks different when put together.
Mastering Type by Denise Bosler
Before creating the new typeface, questions shall be answered :
why is the type needed?
Week 7:
Mr Vinod and Mr Shamsul said that my layout was good but the space/whitespaces needs to be properly spaced or consistent. Also, general feedback given is that the images in the e-blogs need to be captioned with proper description.
Week 8:
Mr Shamsul said that my type looks good but the letter "r" needs to be fixed. He didn't really like the letter "e" either as he said it looks weird. However, after he looked at the whole type family it makes sense on why I added the angle characteristic
Week 9:
Mr vinod commented on my letters "i" , "v" and "s" saying that there are small adjustments needed to be assesed such as the x height of it and the letter "v" should not have a pointed bottom but have a cutoff one.
Reflection
Week 7;We were ask to preview our work to the whole class and stand behind a page layout that we personally liked. I was also struggling to sketch out my own typeface and not accidentally copy the studied typeface. Week 8;We did sketches of our typeface and digitized it by the end of class. It was so hard to do the letter "s". Week 9; We finalized our digitization work and input it into FontLab 5.
Observation :
Week 7; People have their own take and taste on what they like. Week 8; A lot of people did their sketches very neatly which I didn't. Week 9; I saw a lot of very nice fonts that was created by my peers.
Findings :
Week 7; I noticed that making an analysis of something is not that easy. Week 8; I should do my sketches on graph paper which would help me refine it more. Week 9; The fonts looks different when put together.
Further Reading
Mastering Type by Denise Bosler
17/5/2019 (Week 7)
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| Fig. 2.1 : Mastering Type by Denise Bosler |
One of the topics that are discussed in this book is "Typeface Design". There are times when the perfect typeface for a design cannot be found or when a designer wants the creative freedom to express oneself through typography or when a client has dictated a proprietary look for his design. This is when the designer can opt to create an original set of lettering.
Before creating the new typeface, questions shall be answered :
why is the type needed?
will the type be used for text,headline or both?
will the type appear on the printed page or on screen?
what letters, symbols and numbers will the typeface need?
what feeling does the type need to project?
what form does the type need to take-serif, sand serif, script or display?
The answers to this question will determine the kind of typeface to be created. Many beginning type designers start with familiar forms such as their own handwriting. For designers beyond familiar forms, inspiration is key to developing the perfect look.Inspiration is everywhere. A great way to begin is by looking at things that project the same feeling as the intended typeface.
TYPE TEAM perfect typeface combinations by Tony Seddon
TYPE TEAM perfect typeface combinations by Tony Seddon
24/5/2019 - 31/5/2019 (Week 8 - Week 9)
One of the principles discussed in this book is about stress on type. By definition, stress means emphasis or tension. In typographic terms stress indicates the angle of transition from the thickest to the thinnest points in a glyph's stroke. Typographic stress is generally measured along either a near vertical or vertical axis, although some typefaces display horizontal stress characteristics. The latter are also referred to as reversed stress and usually take the form of heavily stylized display faces. So why do so many typefaces feature a variable of stroke width? It is because the earliest Roman typefaces designed were based on earlier handwritten letterforms. Handwritten glyphs from back then produce a moderately variable stroke width and a backwards or left-leaning angle of stress. The natural angle of a quill or broad-nib pen when held by a right-handed person gives us this backwards-leaning trait. Learning the history behind the stress on typefaces is very interesting. This book's main purpose is to give type combinations for example Baskerville Original and FF Yoga Sans, Fry's Baskervile combined with ITC New Baskerville and also Gill Sans. This book helps a lot when designing something that involves type and it is quite informative.
One of the principles discussed in this book is about stress on type. By definition, stress means emphasis or tension. In typographic terms stress indicates the angle of transition from the thickest to the thinnest points in a glyph's stroke. Typographic stress is generally measured along either a near vertical or vertical axis, although some typefaces display horizontal stress characteristics. The latter are also referred to as reversed stress and usually take the form of heavily stylized display faces. So why do so many typefaces feature a variable of stroke width? It is because the earliest Roman typefaces designed were based on earlier handwritten letterforms. Handwritten glyphs from back then produce a moderately variable stroke width and a backwards or left-leaning angle of stress. The natural angle of a quill or broad-nib pen when held by a right-handed person gives us this backwards-leaning trait. Learning the history behind the stress on typefaces is very interesting. This book's main purpose is to give type combinations for example Baskerville Original and FF Yoga Sans, Fry's Baskervile combined with ITC New Baskerville and also Gill Sans. This book helps a lot when designing something that involves type and it is quite informative.
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