12/11/2024 - 17/12/2024 (Week8-Week13)
Amber Tan Jing Jing (0372746)
GCD61004 / Advanced Typography / Bachelor of Design in Creative Media
Task3
TABLE OF CONTENTS
LECTURES
Lectures have been completed in Task1.
INSTRUCTIONS
TASK3
Proposal
In task 3, we are to create a font based on:
- Create a font that is intended to solve a larger problem/ part of a solution in the area of your interest.
- Explore existing letterforms in an area of interest.
- Experimental design
Below is my proposal presentation based on the three options.
Figure 1.1 Proposal Slides
Ideas and Digitization
Expansion my Key Artwork
After feedback from Mr Vinod, I decided to expand my key artwork.
Figure 1.2 Wordmark design from Task 2
However, I feel that the letter "A" appears too round and doesn't match the flat-top design of the other letters "M", "B", "E" and "R". To fix this, I modified the letter "A" to make it slightly more square with rounded corners.
Figure 1.3 Original letter "A" (left) and adjusted letter "A" (right), Week9 (19/11/2024)
After I change the letter "A", I also fell unbalanced. So I decided to adjust the letter "B" as well.
Figure 1.4 Original letter "B" (left) and adjusted letter "B" (right), Week9 (19/11/2024)
While refining these two letters, I realized that the rest of the letters also need to adjust to achieve balance. So, I decided to redesign all the letters while preserving the related elements from my original key artwork.
The original letters were closed, so I added strokes to create gaps.
Figure 1.5 Digitized (Uppercase letter), Week9 (19/11/2024)
Figure 1.6 Typeface Process, Week10 (26/11/2024)
Figure 1.7 Size and proportion between uppercase and lowercase letter, Week10 (26/11/2024)
Font Forge
Before doing the font forge, I first calculate the measurements of the font.
Ascender Height: 674pt
X-Height: 452pt
Baseline: 0pt
Descender Height: -156pt
Figure 2.1 Calculate the measurements of the letter, Week11 (3/12/2024)
Then, I import all the letterforms from Adobe Illustrator to FontForge.Figure 2.2 Imported letterforms, Week11 (3/12/2024)
Figure 2.3 Uppercase and lowercase spacing, Week11 (3/12/2024)
Figure 2.4 Numerals and punctuation spacing, Week11 (3/12/2024)
Font Presentation
Before starting my font presentation, I created a color palette that matches my fonts.
Figure 3.1 Colour Palette, Week12 (10/12/2024)
Figure 3.2 Font Presentation Process, Week12 (10/12/2024)
Final Font Presentation
Figure 3.3 Font Presentation 1, Week12 (10/12/2024)
Figure 3.4 Font Presentation 2, Week12 (10/12/2024)
Figure 3.5 Font Presentation 3, Week12 (10/12/2024)
Figure 3.6 Font Presentation 4, Week12 (10/12/2024)
Figure 3.7 Font Presentation 5, Week12 (10/12/2024)
Figure 3.8 Font Presentation 6, Week12 (10/12/2024)
Font Application
At first, I imagined this font being used in a dessert shop for its cute style. However, I realized that it could go beyond that. This font is an extension of my key artwork, designed to represent me and align perfectly with my identity and personality. So I think I can use this font represent me. That’s why I chose the name "AMBER ONLY" because this font is a true reflection of myself and is unique. For my solo art exhibition, I have selected the mockup models such as light box, bag, t-shirt, and stickers.
1. Light box mockup
Figure 4.1 Light box mockup layout designs in Illustrator, Week12 (10/12/2024)
Figure 4.2 Light box mockup in Photoshop, Week12 (10/12/2024)
Figure 4.3 Light box mockup, Week12 (10/12/2024)
2. Light box sign mockup
Figure 4.4 Light box sign mockup layout designs in Illustrator, Week12 (10/12/2024)
Figure 4.5 Light box sign mockup in Photoshop, Week12 (10/12/2024)
Figure 4.6 Light box sign mockup, Week12 (10/12/2024)
3. Eco bag mockup
Figure 4.7 Eco bag mockup layout design in Illustrator, Week12 (10/12/2024)
Figure 4.8 Eco bag mockup in Photoshop, Week12 (10/12/2024)
Figure 4.9 Eco bag mockup, Week12 (10/12/2024)
4. T-shirt mockupFigure 4.10 T-shirt mockup layout design in Illustrator, Week12 (10/12/2024)
Figure 4.11 T-shirt mockup in Photoshop, Week12 (10/12/2024)
Figure 4.12 T-shirt mockup, Week12 (10/12/2024)
Figure 4.13 Stickers mockup layout design in Illustrator, Week12 (10/12/2024)
Figure 4.14 Stickers mockup in Photoshop, Week12 (10/12/2024)
Figure 4.15 Stickers mockup, Week12 (10/12/2024)
Figure 4.16 Font Application 1, Week12 (10/12/2024)
Figure 4.17 Font Application 2, Week12 (10/12/2024)
Figure 4.18 Font Application 3, Week12 (10/12/2024)
Figure 4.19 Font Application 4, Week12 (10/12/2024)
Figure 4.20 Font Application 5, Week12 (10/12/2024)
Figure 5.1 Finalized letterforms - PDF, Week12 (10/12/2024)
Figure 5.2 Font Presentation 1, Week12 (10/12/2024)
Figure 5.3 Font Presentation 2, Week12 (10/12/2024)
Figure 5.4 Font Presentation 3, Week12 (10/12/2024)
Figure 5.5 Font Presentation 4, Week12 (10/12/2024)
Figure 5.6 Font Presentation 5, Week12 (10/12/2024)
Figure 5.7 Font Presentation 6, Week12 (10/12/2024)
Figure 5.8 Font Presentation Compilation - PDF, Week12 (10/12/2024)
Figure 5.9 Font Application 1, Week12 (10/12/2024)
Figure 5.10 Font Application 2, Week12 (10/12/2024)
Figure 5.11 Font Application 3, Week12 (10/12/2024)
Figure 5.12 Font Application 4, Week12 (10/12/2024)
Figure 5.13 Font Application 5, Week12 (10/12/2024)
Figure 5.14 Font Application Compilation - PDF, Week12 (10/12/2024)
FEEDBACK
Week 9
General feedback: Great Job!
Specific feedback: Idea 1 has already done by someone, can do a research when choosing the poster typeface see whether done by someone. Idea 2 is good to proceed with. Idea 3 also many people done.
Week 10
General feedback: Can move on to create lowercase letters.
Specific feedback: Lowercase letters should be created next to uppercase letters to compare their sizes and make sure they are proportionally and visually consistent.
Week 11
General feedback: Overall ok.
Specific feedback: The number "2" and the letter "Z" look acceptable since they are not the same weight.
You may try to add a slash to the number "2" or the letter "Z".
Week 12
General feedback: Ok.
Specific feedback: When doing the font presentation, try using different font sizes instead of keeping everything the same size. Download the TDC and see how others done in font presentations.
Week 13
General feedback: Ok.
Specific feedback: Finalize the eportfolio for Task3 and Final Compilation.
REFLECTION
Experience
Through this task, I learned how to design all the letterforms and ensure they are balanced. I spent quite a long time working on font applications because I keep changing my theme. At first, I chose mockups with a dessert shop theme and tried to create something based on that, but I still couldn’t find my comfort zone. During that time, I felt very panicked. Then, I remembered what Mr. Vinod said about my font looking like me, so I thought, why not create a theme that reflects "me"? Once I had this idea, the process became much smoother and faster.
Observation
I discovered that creating a grid makes it easier to balance the letters and ensure they are of the same size. This also simplified the process of designing all the letterforms. It was my first time using FontForge, so I spent some time familiar with it. I also watched tutorials on importing fonts from Adobe Illustrator to FontForge. I found it more complex compared to FontLab. In FontLab, I can just copy and paste the letters, whereas FontForge requires saving files in Illustrator first and then importing them. But since FontForge is free, I don’t mind the extra steps—haha!
Findings
I found that need to be patience and attention to detail when creating fonts. Creating a grid is helpful for be to achieve balance among the characters. I realized that it is very important to align the type design with the theme or identity to give it meaning.
FURTHER READING
Typography Design Form and Communication
Figure 6.1 Typography Design Form and Communication
The Anatomy of Typography
Serifs
Serifs provide some of the most identifiable features of
typefaces, and in some cases they reveal clues about their
evolution. The serifs shown are those that appear most
frequently in typefaces.
Figure 6.2 Serifs
Weight
This is a feature defined by the ratio between the relative
width of the strokes of letterforms and their height. On the
average, a letter of normal weight possesses a stroke width
of approximately 15 percent of its height, whereas bold is
20 percent and light is 10 percent.
Figure 6.3 Weight
Width
Width is an expression of the ratio between the black
vertical strokes of the letterforms and the intervals of white
between them. When white intervals appear larger, letters
appear wider. A letter whose width is approximately 80 percent of its height is considered normal. A condensed
letter’s width is 60 percent of its height, and an expanded
letter’s width is 100 percent of its height.
Figure 6.4 Width
Thick/thin contrast
This visual feature refers to the relationship
between the thinnest parts of the strokes in
letters and the thickest parts. The varying
ratios between these parts produce a wide
range of visual textures in text type.
Figure 6.5 Thick/thin contrast
x-height
As it is based on the height of lowercase
letters without ascenders or descenders,
x-height can vary immensely in different
typefaces of the same size. Typically, x-heights
are considered “large” when they are at least
two-thirds the height of capital letters. They
are “small” when they measure one-half the
height of capital letters.
Figure 6.6 x-height
Ascenders/descenders
Ascenders and descenders may appear longer
in some typefaces and shorter in others,
depending on the relative size of the x-height.
Descenders are generally slightly longer than
ascenders among letters of the same typeface.
Figure 6.7 Ascenders/ descenders
Stress
The stress of letters, which is a prominent
visual axis resulting from the relationships
between thick and thin strokes, may be left-
angled, vertical, or right-angled in appearance.
Figure 6.8 Stress
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