2023.11.14 - 2023.12.18 (Week 8 - Week 13)
Khan Saif / 0367438
Typography / Bachelor's Design in Creative Media / Taylor's
For this project, I will create my own typeface for its subtlety, characters and readability. I will design the letters and punctuations following the instructions: " o l e d s n c h t i g , . ! # " After creating my own typeface in Illustrator, I will go to Fontlab 7 to adjust the typefaces by sizes and kernings.
Sketches/Concept:
For this one, I will try to sketch as many typography as possible with my collection of calligraphy pen as instructed to use:
Ms. Low and Mr. Vinod instructed us through teams to give ourselves an attempt to write the letter "o, d, h, n, g" with our calligraphy pen through week 7 to week 9.
3 types of calligraphy pens
As instructed, in order to find any type of writing style that suits me, I used 3 various calligraphy pens to start the sketch. The sketch has the letter 'O', 'D', 'N, 'H' and 'G' with different fonts written in the sketch with 3 attempts per 1 pen. This includes Adobe Caslon Pro, Bembo and Bodoni.
Next, I will design the letters and punctuations as instructed: " o l e d s n c h t i g , . ! # ". Regardless of writing style, I still sketch those letters with 3 calligraphy pen.
After taking much consideration and practice, I prefer the 1st sketch as concept for my digitalised typeface. However, Ms. Low commented the fact that how inconsistent the fonts are, especially in terms of spaces align between letters and inconsistent strokes at the end of every single letters.
Digitalising instructions:
There are instructions to keep in mind for the digitalising process:
1. x-height must be 500 * 500 pts.
2. Artboard for the typeface must be 1000 * 1000 pts, specifically for the ascenders and descenders.
3. Basic font designs to keep in mind of:
- Ascenders
- Capital height
- Median line
- Baseline
- Descender
Digitalising Process:
Due to technical issues, I don't have the prototype typeface to justify the criticism Miss Low gave me, but she commented that in order to consistently line up with letter by letter, it was suggested that letters with similar shapes and patterns merge together to consistently line up with the letters. For example, (h vs n), (c vs e), (t vs i) and even (g vs s).
Ms. Low's sketch on merging letters with similar shapes and patterns (Week 10)
My concept digitalised typeface, Ghostmark (Week 11)
Thanks to Ms. Low's advice, the typeface are much more balanced and most of them are merged to most consistent. For example, I merged the d with l, e with c, n with h, the eye of d and g etc. As for punctuation, coma is basically period but with a signature stroke I added in almost every letter. Exclamation mark is part of the layer of 'l' with a period below, and numbersign is basically 4 part of the 'l' layers and merged together to become numbersign,
However, with this adjustment, kerning and lettering became a bigger concern. Looking at the concept typeface above , it's obvious the space between letters aren't as balanced, and because most letters have strokes at the end, it's hard to adjust them. Thankfully, Mr. Vinod introduced us Fontlab 7, a program that allow our typefaces to type. Not only that, Fontlab 7 also makes kerning less time-consuming.
Link to the font:
https://drive.google.com/file/d/18oeHSIAiO6_B-05pcWoKxDUGAfiIfzKS/view
Measurements (From Fontlab7):
Ascenders: 700 pt
Capital Height: 660 pt
X-height: 500 pt
Descender: -250 pt
Final Illustrator Art:
JPEG File:
PDF File:
Final Poster:
Concept art for posters
Final Submission:
JPEG File:
PDF File:
Feedback:
Week 9:
General Feedback:
Starting from sketch, as stated in the blog, the sketches of typefaces with 3 different calligraphy pens, while given variety, it is not consistent in terms kerning and lettering between letters and its sizes. Strokes are very unbalanced as well.
Specific Feedback:
Given my little experience with calligraphy pen, some, if not most letters like 'h' and 'd' are often crooked and unbalanced.
Week 10:
General Feedback:
Ms. Low suggested that my typefaces should merge letters with similar shapes and patterns.
Specific Feedback:
For example, 'h' resembles 'n' and 'c' resembles 'e'.
WEEK 11:
Reviewing the concept typeface again, Ms. Low suggested me to use Fontlab 7 to adjust kerning and lettering.
Specific Feedback:
Judging by the concept typeface, letters like 'c' and 'h' are too close to each other, and sometimes the letters strokes often not balanced.
Reflection: (please read)
Experience:
Overall, regardless the outcome of my works critique, I enjoy my time working on typefaces. I had fun coming up with any surreal fonts to keep my friends and classmates engage with my creations. I know that my submission for the typeface is still relatively flawed, but I understand that not everyone can make their desired creation in one sitting. I think what matters is I pour my heart and soul into one project. After looking font by font, form by form, structure by structure, lettering by lettering, at the very least, I know I tried, and I appreciate myself for that.
Observation:
After looking at my work again, I realize that typography is all about subtlety. My goal is to create a typeface that somewhat resembles modern handwritings and signatures, while casually adding a bit of element of horror into it. While a somewhat playful font can be different and even ambitious for a change, I also understand the subtle power of typography for its affection to graphic designs all around the world. For example, I did look back at the Comic Sans font for its well known lack of subtlety and over-the-top informal, childish mood, compared to the more seemingly "generic", but more loyal, trusting mood of Helvetica's.
Findings:
Needless to say, it takes a lot of time and patience to design even a single letter of font. I noticed the importance of strokes and stems while working for my digitalised typefaces.
For my Google Drive submission:
.png)
Comments
Post a Comment