Typography / Task 3A : Type Design & Communication


6/10/2021 - 26/10/2021 Week 7 - Week 10 

Loh Shu Huan / 0349621


Typography / Bachelor of Design in Creative Media
Task 3A : Type Design & Communication 
 


LECTURES

All lecture note has completed in Task 1: Task 1 Blog Link


INSTRUCTIONS


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EXERCISE

Task 3(A): Type Design & Communication 

Week 7
This week, we were required to do type design. We were required to choose FOUR from the selected alphabet, they must included 1 lowercase, 1 descender, 1 ascender and 1 within x-height with three to five design.


Fig 1.1 Idea Inspiration (sources: Pinterest)

Besides, we were also required to deconstruct THREE letters with 10 provided typefaces.

Fig 1.2 letter r with Janson Text LT Std, 11 Oct.2021

Fig 1.3 letter a with Janson Text LT Std, 11 Oct.2021

Fig 1.4 letter t with Janson Text LT Std, 11 Oct.2021


I wanted to create the typefaces which are bold, cute, curvy and simple at the same time.

Fig 1.5 Sketches of ideas, 11 Oct.2021

After having my rough sketches of type design, I pick THREE of them to digitise in Adobe Illustrator with uppercase and lowercase each. I use shape, line and pen tool to create the letters.

Fig 1.6 Progression, 11 Oct.2021

Fig 1.7 Progression, 11 Oct.2021

Week 9
After receiving feedback from Mr.Vinod, I made the strokes thicker and remove the little hole on letter "i" and "t". And also made the punctuation bigger.

Fig 2.1 Thickness of Strokes, 25 Oct.2021

Fig 2.2 Before vs After, 25 Oct.2021

Fig 2.3 Measurements, 25 Oct.2021

Measurements
Ascender Line / 723pt
Cap Line / 625pt
Median Line / 500pt
Descender Line / -230pt

After having my final type design in Adobe Illustrator, I started using Font Lab 7 to create my own typeface and name it "Bloop".

Fig 2.3 Progression in Font Lab 7, 25 Oct.2021

Fig 2.4 Kerning in Font Lab 7, 25 Oct.2021

Fig 2.5 Bloop - Display Poster, 25 Oct.2021

Final Submission of Task 3A: Type Design & Communication
Font download: https://drive.google.com/file/d/1qt-CV2iTibpS3EGgIfXE2WOG5iXVWOFu/view

Fig 2.6 Final Task 3A: Type Design & Communication "Bloop" - JPEG, 25 Oct.2021

Fig 2.7 "Bloop" A4 Typo Poster - JPEG, 25 Oct.2021

Fig 2.8 Final Task 3A: Type Design & Communication "Bloop" - PDF, 25 Oct.2021

Fig 2.9 "Bloop" A4 Typo Poster - PDF, 25 Oct.2021


FEEDBACK

Week 9
General Feedback - Be aware of the consistency in strokes thickness, for character consistency and ensure to prioritise subtly over complexity. Specific Feedback - All the strokes can be two times thicker, and the hole in letter "i" and "t" is unnecessary, the size of the punctuation can be bigger too.

Week 10 Specific Feedback - Nice range of sketches. Very expressive font (lots of character). I think the poster can be more impactful if the font is presented larger and not in the centre. I feel there is a lot of space around the black text. Other than that, the font is consistent in style, stroke and character. Good—nice name.

REFLECTION

Experience: This is a really good chance for me to learn how to create and design my own typeface. This is really interesting that I got chance to find out more possibilities.

Observation: Neat arrangements is way more readable.

Findings: While doing this task, I need to pay more attention which means there is a lot of details need to take care of.


FURTHER READING

[The Vignelli Canon] - Massimo Vignelli

The search for the meaning of whatever we have to design is known as semantics. 
When we start a new project in any form of design, graphic, product, exhibition, or interior, the first thing we do is try to figure out what it means. This could begin with historical study to have a better understanding of the project's scope and choose the best course of action for developing a new design. 
Depending on the project, the search can go in a variety of directions. It could be a search for further information about the company, the product, the subject's market position, the competition, the subject's destination, the final user, or even the subject's true meaning and semantic roots. 

Fig 1.8 Pages from [The Vignelli Canon], 11 Oct.2021

"God is in the details." 
That is the essence of syntax: the discipline that controls the proper application of grammar in phrase building and language articulation. Many components in the nature of the project offer the design syntax. The overall framework, the grid, the typefaces, the text and headlines, the pictures, and so on are all examples of them in graphic design. The right relationship of the various syntactical aspects of the project, such as how type interacts with grids and images from page to page across the project, provides consistency to the design. 
The importance of syntactic consistency in graphic design, as in other human activities, cannot be overstated. Grids are one of the methods that aid graphic designers in achieving syntactical consistency.

Fig 2.10 Pages from [The Vignelli Canon], 25 Oct.2021

Whatever we do, if not understood, fails to communicate and is wasted effort. We design things that we believe are semantically correct and syntactically consistent, but if no one understands the result or the meaning of all that effort when it comes to fruition, the entire effort is pointless. It may be necessary to provide some explanation at times, but it is better when not necessary. Clarity of goal translates to clarity of output, which is important in the field of design. Confusing, complex designs show a mind that is as confused and complicated. 
We love complexity but despise complications!

Fig 2.11 Pages from [The Vignelli Canon], 25 Oct.2021


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