Advanced Typography (Task 3)
Myra Elida Binti Abd Azis / 0358516
GCD61004 / Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 3
Instruction
Lectures
- Content can be textual, visual, graphical or in the form of color. The purpose of this lecture is to find out how contrast works and what kind of form it entails in typography.
Fig 1.1 Contrast
- There are several methods in typography to create contrast, the above image is devised by Rudi Ruegg.
- However, Carl Dair, adds two more principles into the mix; texture and direction "to make design work and meaning pop out - clearly and unambiguously, and with flair," via the use of contrast in typography. He posits 7 kinds of contrast which are,
- Size
- Weight
- Contrast of Form
- Contrast of Structure
- Contrast of Texture
- Contrast of Color
- Contrast of Direction
Fig 1.2 Contrast/Size
- A contrast size provides a point to which the reader's attention is drawn. For example, if you have a big letter and a small letter you will obviously see the big letter first before the other. The most common use of size is in making a title or heading noticeable bigger than the body text.
Fig 1.3 Contrast/Weight
- Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than using bold, using rules, spot, squares also provides a "heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
Fig 1.4 Contrast/Form
- Contrast of form is the distinction between a capital letter and its lowercase equivalent, another way to put it would be a roman letter and its italic variant, condensed and expanded versions of typeface are also included under contrast of form.
Fig 1.5 Contrast/Structure
- Structure means the different letterforms of different kinds of typefaces. For example, a monoline sans serif and a traditional serif, or an italic and a blackletter.
Fig 1.6 Contrast/Texture
- By putting together the contrasts of size, weight, form and structure, and applying them to a block of text on a page, you come to the contrast of texture. Texture refers to the way the lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they're arranged.
Fig 1.7 Contrast/Direction
- Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text blocks also have their vertical or horizontal aspects of direction. Mixing wide blocks of long lines with tall columns of short line can also create a contrast.
Fig 1.8 Contrast/Color
- The use of color is suggested that a second color is often less empathetic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.
Fig 1.9 Form
- A good form in typography tens to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind is the most often memorable.
- Displaying type as a form provides a sense of letterforms unique characteristics and abstract presentation.
- Gestalt is a German word meaning for "placed" or "put together".
Process
Type Exploration
First of all, I tried to find inspiration from Pinterest as I find it easily to find then just going to Google then going to images.
Fig 2.1
Fig 2.2
Out of the two design. I decide with Fig 2.1 as it simple but creative. Then, I began sketching.
Fig 2.3 Sketch 1
Fig 2.4 Sketch 2
After that, I began to digitalized my sketch like shown in the pictures below.
Fig 2.5
Fig 2.6
Moreover, once as I was satisfied with the result after trial and error, I then imported the digitalized letters from Illustrator to FontLab.
Fig 2.7
Font Presentation
Fig 2.8 Process
Font Application
I decided to put a simple design on several things :
- Glass bottle
- Tumbler
- Tote bag
- Hoodie
- T-shirt
Fig 2.9 Process
Final
Typeface
Fig 3.1
Font Presentation
Fig 3.2
Fig 3.3
Fig 3.4
Fig 3.5
Fig 3.6
Font Application
Fig 3.7
Fig 3.8
Fig 3.9
Fig 3.10
Fig 3.11
Feedback
Week 11
Specific feedback: Consistency of thin and thick stroke, make sure when having thin and thick stroke it should be the same width for other letters.
Reflection
Experience
Designing the font was challenging because I aimed for a design that struck a balance between uniqueness and simplicity. Nevertheless, the process was fascinating and educational, offering insights into the creation of fonts. Digitizing the font proved tedious as I worked to ensure it was legible and appropriately sized for others to use. For instance, translating my hand-drawn design into a digital format required careful attention to detail.
Observation
At first, grasping how small adjustments in the glyphs could have such a significant impact posed a challenge. However, as I progressed into the digitalization phase and compared the initial and refined versions, the profound changes became clear. Observing this transformation underscored how even the minutest details could markedly influence how the font is perceived by readers.
Findings
Ensuring consistent stroke weights, spacing, and visual coherence across the typeface is crucial for readability and user experience. Transitioning from hand-drawn sketches to digital platforms presented its own set of challenges.
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