Nicco Chew Jin Xun | 0366563
Bachelor of Design (Honours) in Creative Media | Taylor's University
Task 3: Type Design & Communication (30%)
Task 3 / Exercises
Visual References / Research
These are three images I found from Pinterest and took inspiration from
them.
Figure 1.1 - visual references from Pinterest
Sketch
Figure 1.2 - sketches of letters [ h, o, g, b ]
These sketches represent my initial exploration of different styles and techniques for designing a unique font. I experimented with three main styles: flat, brush, and round, each offering a distinct character and personality to the letters.
Flat Style: This style focuses on clean, sharp edges and geometric shapes, giving the font a modern, minimalistic look. The letters are bold and structured, with a focus on balance and proportion. This style is ideal for creating a strong, professional, and sleek visual impact.
Brush Style: Inspired by hand-drawn calligraphy, this style emphasizes fluidity and dynamic strokes. The organic, flowing lines create a sense of movement and elegance.
Round Style: This style features smooth, rounded edges and playful curves, creating a more whimsical and approachable aesthetic. The circular elements give the letters a soft and friendly appearance, perfect for projects that require warmth and charm.
My Chosen Digitisation font
Figure 1.3 - the final chosen digitisation font
Through these sketches, I explored different forms, weights, and proportions, analyzing how they contribute to the overall tone and readability of the font. Each style was developed with a specific mood and application in mind, allowing me to better understand the versatility of type design. Ultimately, I chose to proceed with the flat style, refining it into a bold, striking font named 'Monotrix', for its ability to convey modernity and precision.
I chose this as the final font for digitisation because it combines
clean geometric forms with a bold and modern aesthetic. The sharp,
angular features give the font a unique, futuristic vibe, while its
structured composition ensures legibility and balance. Naming it 'Monotrix' reflects its minimalist yet intricate design, emphasizing its
versatility for various applications. This font stood out to me as it
strikes a perfect harmony between creativity and practicality, making it
an ideal choice for my type design.
Digitisation on Illustrator
Figure 1.4 - digitisation of letters [o, l, e, s, n, c, h, t, i, g, ,
,. , !, # ] on Illustrator
- Utilized layers and trace the letters to transform sketches into the foundational elements of the typeface.
- Arranged and assembled these elements to craft each letter individually.
- Refined and merged the shapes using the Shape Builder Tool for precision.
- Adjusted stroke weights and angles to maintain consistency throughout the typeface.
- Regularly zoomed in to check for alignment issues and correct minor imperfections.
- Balanced side bearings and kerning to ensure smooth spacing between letters based on the notes given by Ms VItiyaa
- Tested the typeface at different sizes to evaluate legibility and clarity.
- Focused on creating a clean, geometric style while keeping the design cohesive and visually appealing.
Figure 1.5 - digitisation of letters [o, l, e, s, n, c, h, t, i, g, , ,. , !, # ] on Illustrator
- Since 'Monotrix' was inspired by sharp, angular geometry with a clean and futuristic aesthetic. The goal was to create a font that balanced modern minimalism with bold, experimental edges. So, I keep adjusting the upper part of letters 'o', 'e', 's', 'n', 'c', 'g' to achieve the geometry shape I wanted to emphasise on my font.
- To ensure a cohesive design, I reused certain shapes or components (e.g., the diagonal cuts in letters like 'o,' 'n', and 'g' . This created a visual rhythm across the typeface.
- Balancing the white space within each letter was crucial. For instance, letters like 'o,' and 'd' needed a consistent internal spacing that matched the sharp exterior structure.
- I designed the numerals and special characters (e.g.,',', '.', '!', '#'.) using the same geometric principles, ensuring they matched the sharp angles and bold structure of the typeface.
Font Lab
After digitising, I transferred all the letters to FontLab
Figure 1.6 - digitisation of letters [o, l, e, s, n, c, h, t, i, g, ,
,. , !, # ] on Font Lab
- Exported the completed letter designs from Adobe Illustrator in SVG format to maintain accuracy and compatibility with FontLab.
- Imported the SVG files into FontLab and assigned each letter to the correct glyph slots.
- Adjusted side bearings and kerning in FontLab to ensure smooth spacing and alignment between characters.
- Used FontLab tools to fine-tune proportions and verify consistency across all glyphs.
- Tested the typeface by typing sample text in FontLab, making final adjustments for balance and legibility.
- Exported the finalized typeface as a TTF file, making it ready for use in digital and design applications.
Figure 1.7 - font details (measurements)
Measurement:
Ascender Height - 724 pt
Cap Height - 597 pt
X-height - 491 pt
Descender - 226 pt
Download my font here !
Figure 1.8 - Final type construction, Monotrix (JPEG)
Figure 1.9 - Final type construction, Monotrix (PDF)
<iframe
src="https://drive.google.com/file/d/1Z1qU3RtnoILDFYk3HYa7u4gJfzmFyd0A/preview"
width="640" height="480" allow="autoplay"></iframe>
Figure 1.10 - Font Lab side bearings
Poster
Figure 1.11 - Final A4 Black Poster (JPEG)
Figure 1.12 - Final A4 Black Poster (PDF)
<iframe
src="https://drive.google.com/file/d/1nf3b5lew6_b59-7cksePq7SgROmUoM5S/preview"
width="640" height="480" allow="autoplay"></iframe>
Test Out My Font Here:
Type some words below to see how they look in my font:
*Only type in these alphabets/symbols in lowercase : o, l, e, d, s,
n, c, h, t, i, g, r, ., !, #.
Feedback
Week 9 (18/11/24)
General Feedback
I am unable to attend this class due to an urgent matter.
Week 10 (25/11/24)
General Feedback
This week, Ms Vitiyaa brief us on the evaluation of our previous task.
Following that, we were given time to work on digitizing the font and
make edits to our e-portfolio
Week 11 (2/12/24)
General Feedback
This week, we were instructed to download FontLab 7. Our task was to
finalize our digitized font and import it into FontLab 7. Then, we have
to update our e-portfolio and feedback sheet.
Week 12 (9/12/24)
General Feedback
This week, Ms. Vitiyaa instructed us to complete generating our font
and begin working on our poster design. All tasks, including the poster,
e-portfolio updates, and downloading the font, must be finished before
the next class. She also reminded us to complete the TES feedback
form.
Week 13 (16/12/24)
General Feedback
I am unable to attend this class due to an urgent matter.
Reflection
Experience
This task has been a fulfilling journey, allowing me to create my own font
from initial sketches to final adjustments in FontLab. The sketching phase
was initially challenging, as I struggled to refine my ideas, but after
exploring different inspirations, I developed designs that felt true to my
vision. Digitalizing the letters required a keen focus on consistency and
proportions, which helped me better understand font structure and spacing.
Surprisingly, using FontLab was more intuitive than I expected, and
balancing the side bearings and spacing became an enjoyable process. The
highlight for me was seeing my completed font come to life in the B&W
poster, making the entire effort feel incredibly rewarding. Overall, this
project enhanced both my technical skills and my appreciation for the art of
typography.
Observations
Through this project, I’ve realized how much attention to detail is required
in font design, from sketching to the final digital output. Small
adjustments, like ensuring shapes are properly aligned or side bearings are
balanced, can significantly impact the overall appearance and readability of
the font. I also learned that resizing elements needs to be done carefully,
as even slight changes can lead to inconsistencies in stroke weight. This
whole process taught me the importance of being thorough, as even the
smallest refinements can make a big difference in the final design.
Findings
Designing and developing a typeface was a challenging but rewarding
experience that taught me to appreciate the details behind typography.
Creating each letter from scratch helped me understand spacing, proportions,
and consistency. While I had some knowledge of Adobe Illustrator, I learned
new techniques and gained a better eye for observing typography in everyday
life. This process improved my design skills and gave me a clearer
understanding of how typefaces work, inspiring me to apply all these design
skills and creative thinking to my future projects.
Further Reading
[ The Evolution of Type ]
Figure 1.13 - 'The Evolution Of Type' by Tony Seddon
Tony Seddon is a British typographer, designer, and educator, best
known for his work in type design and his contributions to the field of
typography. He has a deep knowledge of the history of type and its
evolution, and his work often explores the intersection of traditional and
modern typographic practices. Besides, he is the author of 'The Evolution of Type', a well-regarded book that covers the development of typefaces
throughout history, examining key moments and figures that have shaped the
typographic landscape. The book is celebrated for its detailed analysis
and visually rich examples of typefaces, offering insight into how design
trends, technological advancements, and cultural shifts have influenced
typography over the centuries. Beyond his writing, Tony Seddon has worked
as a designer and educator, sharing his passion for typography with
students and professionals. He has taught at various design institutions
and has been involved in creating educational resources to help people
understand and appreciate type design.
Key Takeaways from the Book:
1. Historical Roots of Typography
The book traces the development of typography from the invention of
movable type by Johannes Gutenberg in the 15th century, exploring how
the rise of printing revolutionized communication and visual culture. It
highlights how the demands of printing technology influenced the design
of typefaces, with early type designs rooted in handwriting and
calligraphy.
2. The Impact of Technology
Seddon emphasizes the profound effect that technological advancements,
such as the shift from metal typesetting to digital typography, had on
type design. Each new printing technology required new typeface designs
and adaptations to meet the evolving needs of designers, printers, and
readers.
3. Key Movements and Influences
The book explores how various artistic movements, such as the
Renaissance, the Industrial Revolution, Art Deco, and modernism, shaped
type design. The influence of calligraphy, as well as the rise of
functional, utilitarian design principles, are also discussed in
detail.
4. The Role of Designers and Foundries
Seddon highlights the importance of influential typographers and type
foundries throughout history, such as William Caslon, Claude Garamond,
and later, more contemporary figures like Adrian Frutiger and Herman
Zapf. These designers not only shaped the aesthetic direction of type
but also influenced the way typography was used in design.
5. The Rise of Digital Typography
One of the most significant developments in typography is the
transition from analog to digital design. This shift enabled a more
flexible approach to type design, allowing for greater experimentation
and the creation of custom typefaces. Digital typography also
democratized the creation and distribution of typefaces, allowing
designers to experiment without the constraints of traditional
printing.
6. Typography and Branding
The book highlights how typography plays a central role in branding,
visual identity, and communication. Typefaces have the power to evoke
emotions, set tones, and influence perceptions, which is why
understanding type history and evolution is essential for effective
design.
7. The Future of Type
Seddon also reflects on the future of typography, considering how
current trends like responsive design, variable fonts, and web
typography are pushing the boundaries of type design. The rise of new
technologies and platforms continues to challenge typographers to adapt
and innovate.
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