10/6/2024 - 15/7/2024 ( Week 8 - Week 13 )
Ho Winnie / 0364866
Advanced Typography / Bachelor's of Design Honors In Creative Media
Final Project : Type Exploration & Application
1. Final Project : Type Exploration & Application
1. Final Project : Type Exploration & Application
For this task, we are to choose a direction to head in:
1) Create a font to solve a larger problem or meant to be part of a solution in an area of interest;
2) Explore the use of an existing letterform in an area of interest, improve upon and explore possible solutions;
3) Experiment. Identify potential weaknesses or possible areas of further exploration or experimentation in an area of interest, and provide a creative solution or add value to an existing use by working with materials.
For me, I am more tilted towards option 1 which is the creation of a new font to be part of a solution in an area of interest.
A) Idea Proposal
I have proposed 4 preliminary ideas which are creating a fox-inspired font for the movie " Fantastic Mr Fox " . My second idea is to modernise league of legends font as players feel that the font looks a bit outdated compared to other games. My third idea is to complete the lowercase letterforms for the famous font " Arcane Nine" and my final idea is to create a handmade, blocky style summer font that can be used in various applications such as summer posters or summer wears.
B. Idea Development
After feedback from Mr Vinod, I have decided to go for idea 4 which is the summer handmade blocky font. I did an initial very rough sketch to get an idea on the style first. This allowed me to explore what shapes i could make consistent ( for example, the negative space in each letters and also the thickest and thinnest strokes for the letterforms )
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| Fig 1.1 Rough Sketch , Week 10 , 29/6/2024 |
I started out rough digitalization in Adobe Illustrator as I experimented with the shapes, I intended to make the thickest strokes of the letters stand out and I also designed them on a 1000x1000pt artboard. I set specific guidelines to ensure consistency in designing as well, below are the guideline measurements.
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Fig 1.2 Guidelines , Week 10 , 29/6/2024
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Fig 1.3 Rough Digitalization , Week 10 , 29/6/2024
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After feedback session with Mr Vinod, I started on the intricate improvements on the letterforms.
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| Fig 1.4 Feedback session , Week 11 , 4/7/2024 |
Letter D :
Mr Vinod commented that the curve on letter 'D' does not seem as smooth as letter 'O' on the side as I was trying to remain on the consistency of the length of all letters but in this case, the curve should be made less awkward so I placed the letters side by side and adjusted on the curves.
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| Fig 1.5 Letter D process , Week 11 , 6/7/2024 |
Letter B : My upper stroke and the overall shape of the letterform does not blend well with other letters so I decided to referenced it to the improved version of letter D to re-designed my letter B. The inner counters became more regular from the left to the right and evolved from a more playful style to a slightly more structured letter. The thinnest stroke of the letter was made similar to letter D as well.
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Fig 1.6 Letter B process , Week 11 , 6/7/2024
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Letter R and P : Similar to letter B, I adjusted the thinnest stroke to be consistent across all letters, I reduced the thickness of the stroke and shifted the inner counters upwards to achieve similar looking styles.
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Fig 1.7 Letter R,P process , Week 11 , 6/7/2024
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Letter H : For letter H, I worked on the inner strokes to ensure that the thickest stroke is consistent with other letters so I increased the thickness of it. I also realised that the vertical stroke on the left looks a bit shaky so i decreased the number of anchor points and made it straight.
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Fig 1.8 Letter H process , Week 11 , 6/7/2024
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Letter W : Similarly, I find that the width of the letter is too small and the inner strokes looks too thin compared to other letters so I increased the thickness of the inner strokes as well.
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Fig 1.9 Letter W process , Week 11 , 6/7/2024
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Overall, this is my improved version of upperforms :
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Fig 2.0 Final Upperforms , Week 12 , 10/7/2024
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Numbers : The construction of numbers 0-9 were based off the shapes from the upperforms "O, S E " . For example, the shape of zero has the same shape as O but has different inner counters. Number 2 adapts the same curve as S but in a reversed style with further enhancements on the shape. Number 3 adapts the same style as letter E but with a more defined curve. Overall, the thickest part of the stroke remained consistent from the upperforms to the numbers.
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Fig 2.1 Numbers process , Week 12 , 11/7/2024
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For the other letters, I tried to ensure similar styles and the thickness similar, below is the final completed numbers :
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| Fig 2.1 Final numbers , Week 12 , 11/7/2024 |
Punctuations & Special Letters :
Initially, I designed some punctuations without considering matching it to the style of the overall font, for example " < > / " looks too thin. However I am pretty satisfied with the " @, # , & and ? " . After receiving several feedback, I improved on the shapes of all punctuations.
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| Fig 2.2 Punctuations process , Week 12 , 12/7/2024 |
I created the rest of the punctuations keeping the style of my font in mind, which is a improved version of my first try.
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| Fig 2.3 Final Punctuations, Week 12 , 12/7/2024 |
Overview of illustrator workspace :
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| Fig 2.2 Full Illustrator process , Week 12 , 12/7/2024 |
Final font design Rubiko with full glyphs :
Developing final font in FontLab 7 : Firstly , I pasted all the glyphs into FontLab 7,
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Fig 2.3 Inserting into fontlab 7 , Week 13 , 14/7/2024
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Process of Kerning : TAY: The kerning value for the pair "AY" is -30, meaning the space between "A" and "Y" is reduced by 30 units to make the pair look closer together.YA: The kerning value for the pair "YA" is -90, significantly reducing the space between these letters to ensure they appear closer.N space I: There is a space adjustment after "N" of 260 units, indicating a large space before the next character. |
Fig 2.4 Kerning Process , Week 13 , 14/7/2024
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Font Presentation :
I started out by looking for references on Pinterest on how normally people do their font presentations, I realized that it must portray the style of your font and have an effective color scheme.
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Fig 2.5 References for Presentation , Week 13 , 15/7/2024
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My font is a summer handmade font so I began by using a paper-like texture to emphasize on the homemade style and drew a few illustrations like surfing and summer style posters.
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| Fig 2.6 Illustrations for Presentation , Week 13 , 16/7/2024 |
First attempt on font presentation : However, the color scheme does not ring "summer" to me and I felt that instead of focusing on the "handmade" element of the font, i should focus on the summer aspect of it.
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| Fig 2.7 Attempt #1 for Font Presentation , Week 13 , 16/7/2024 |
Second attempt on font presentation :
I started off by selecting a summer themed color scheme and draw new illustrations based off it.
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| Fig 2.8 Illustrations for Presentation Attempt #2 , Week 13 , 16/7/2024 |
I updated the rest of my initial background to a gradient blue sky background and also did a lyrics version presentation of a song called " Cruel Summer ". I am much more satisfied with the improved version of font presentation here.
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| Fig 2.9 Final Font Presentation , Week 13 , 16/7/2024 |
Font Application :
Rubiko is a handmade summer themed font that can be used on either all kinds of homemade materials as well as summer promotional items. I decided to go for summer beach apparels which is a hat, tank top, shirt , tote bag and also a hoodie from mockeyai. I started to create the designs to placed them on the mockups as i referenced to some products from pinterest.
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| Fig 3.0 References for Application , Week 13 , 17/7/2024 |
Below are my illustrations for the products :
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| Fig 3.1 Illustrations for Application , Week 13 , 17/7/2024 |
Final Font Application :
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| Fig 3.2 Final Font Application , Week 13 , 17/7/2024 |
Final Submissions for Final Project : Type Exploration & Application
Final Font Design
Font Presentation :
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| Fig 3.3 Final Font Presentation #1, Week 13 , 20/7/2024 |
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| Fig 3.4 Final Font Presentation #2, Week 13 , 20/7/2024 |
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| Fig 3.5 Final Font Presentation #3, Week 13 , 20/7/2024 |
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| Fig 3.6 Final Font Presentation #4, Week 13 , 20/7/2024 |
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| Fig 3.7 Final Font Presentation #5, Week 13 , 20/7/2024 |
PDF of Font Presentations :
Font Tester :
Test out Rubiko here, input all capital letters and special punctuations
Font Application :
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| Fig 3.8 Final Font Application #1, Week 13 , 20/7/2024 |
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| Fig 3.9 Final Font Application #2, Week 13 , 20/7/2024 |
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| Fig 4.0 Final Font Application #3, Week 13 , 20/7/2024 |
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| Fig 4.1 Final Font Application #4, Week 13 , 20/7/2024 |
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| Fig 4.2 Final Font Application #5, Week 13 , 20/7/2024 |
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PDF of Font Applications :
2. Feedback
Week 9 :
General Feedback : Begin your task in a systematic manner and start off with proper guidelines and structure to determine proportions and thickness of lines. Develop uppercase and lowercase letters side by side.
Specific Feedback : Idea 3 and 4 is acceptable, can proceed with it but for last idea do not limit to only children's product, expand it for bigger usage
Week 10 :
General Feedback : Do not fully copy the referencd font, when designing try not to put the reference font side by side as it will limit your ideas during construction. Analyse them and apply some features to the font. The overall height of the artboard should not exceed 1000pt.
Specific Feedback : Shape of the fonts are looking interesting but letters B,R,P,D needs more work. Ensure that the thickness of strokes is consistent for all letters. Letter S is good.
Week 11 :
General Feedback : All letterforms should be finished by now, remember to design each letter on a separate artboard not exceeding 1000pt as we do not have to resize them, many of us are designing on a small artboard
Specific Feedback : Ensure that you construct the numbers and the punctuations with the style of your font in mind or else it will look like its separated from the font family.
Week 12 :
General Feedback : Font presentation can use images but overall should not exceed 1024px x 1024px.
Specific Feedback : Absent
Week 13 :
General Feedback : Finish all font presentation and applications
Specific Feedback : Try not to have too many random things in application, in your case maybe can consider doing clothing line apparels.
3. Further Reading
For further reading I've read Typography referenced by Allan Haley, mainly on Type Design & Development , Chapter : Design By Team
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| Fig 3.1 Typography Referenced , Week 13 ( 7/21/2024 ) |
Key Learnings from the Chapter "Design by Team" :
Value of Collaboration: The shift to team-based typeface design highlights the importance of drawing on the diverse expertise of multiple designers. This collaborative approach leverages different skills and perspectives, resulting in more robust and versatile typeface designs.
Historical Context and Evolution: Understanding the historical context of typeface design, from the hot-metal and phototype eras to modern digital formats, is crucial. This evolution demonstrates how technological advancements have influenced design practices and allowed for greater creative freedom and individuality among designers.
Growth of Mid-Size Foundries: The rise of mid-size foundries underscores the need for specialized skills and teamwork in creating text and branding typefaces. These foundries benefit from collaborative efforts, leading to better documentation, community engagement, and overall higher quality products.
Complexity of Typeface Scaling: Designing typefaces that function well at different scales is a significant challenge. The varying x-heights and rendering requirements for different media necessitate careful consideration and detailed planning to ensure consistency and readability across all uses.
Critical Role of Experience: Gaining the ability to predict how small changes in individual letters affect overall text appearance is a skill developed through experience. This highlights the importance of practice and iterative design in mastering typeface design.
Interpolation Tools and Limitations: While interpolation tools can help manage design variations, their effectiveness is dependent on the quality of the fonts and the specific parameters being adjusted. Designers must understand the strengths and limitations of these tools to achieve optimal results, particularly within narrow ranges to maintain consistency and quality.
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Fig 3.2 Interpolation of Adobe Arno Pro , Week 13 ( 7/21/2024 )
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4. Reflection
Experience :
We had very limited time to finish our final project because most of us did not get to pitch our ideas during the independent learning week which resulted in 1 week's delay of work. I had to spend long hours for some time to complete the font so I have sufficient time to work on the application and presentation, which resulted in me feeling very burnt out. It took me significant time to adjust the consistency of all the letterforms and to design numbers and punctuations which fits the style of the font.
Observations :
I noticed that the key to making my font consistent is ensuring that the thickest and thinnest strokes are the same and that the thick part needs to stand out. The key lies in adjusting the inner spaces of the words to ensure consistency. When designing the numbers and punctuations, I observed that it initially does not blend well with the upperforms hence I created them using the shapes of the upperforms itself. Recognizing these issues provided me with valuable insights to refine my font.
Findings :
Throughout this task, I understood the critical importance of dedicating sufficient time to analyzing, researching, and constructing letterforms to achieve consistent and high-quality end results. Each phase of the process, from initial concept to final execution, required meticulous attention to detail and a deep understanding of typographic principles. Spending ample time in the analysis and research stages allowed me to identify and address potential issues early, ensuring a more cohesive and effective typeface.
Furthermore, I realized the necessity of consistently having a clear purpose in mind when designing letterforms. This clarity of purpose guided my design decisions and helped maintain focus throughout the project. By continually asking myself, "Why are we making this font?" I was able to align my design choices with the intended goals and applications of the typeface. This question served as a valuable tool, not only during the design process but also when presenting and applying the font.
Having a well-defined rationale behind the creation of the font greatly enhanced its presentation and application. It allowed me to articulate the design's objectives and the reasons behind specific design choices, making the typeface more compelling and meaningful to its intended audience. Overall, this task highlighted the importance of thorough preparation, clear purpose, and thoughtful design in creating effective and consistent letterforms.
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