Week 8-Week 13
WangShengxiao/0369380
Bachelor of Design(Honours)in Creative Media
Typography/Task2：Type Design & Communication
Table of Contents:
1. Instruction
2. Task 3
3. Feedback
4. Reflection
5. Further Reading
INSTRUCTIONS
Update your feedback (if any) for week 8 in the
Google Feedback Sheet
Update Task 3 Eportfolio.
Once your sketch is approved, write all the letters (o l e d s n c h
t i g , . ! #) in the approved style and digitise.
Present your sketches on the
Facebook post
(follow the FB instructions) for selection/approval
Font design sketch
Continue to Update
Task 3 Eportfolio.
Update your feedback for week 9 in the Google Feedback Sheet
Continue to digitise your work but not before writing all letters (o
l e d s n c h t i g , . ! #)
Choose writing in uppercase or lowercase (not both), then
digitise.
Don't forget to save the process work digitally. Keep the raw
shapes/strokes.
Note:
2-3 ways of building your letters: using the
shape tool; using the stroke tool;
and should you wish to introduce contrast in your strokes, select
the brush window.
Tools: Cut, width, shape builder, pen and brush
Windows: Pathfinder, Align, Stroke,
Actions: Menu > Object > Path > Outline Stroke
What I do is I make it bold, then I use the width, then I expand it,
then I adjust it with a pencil
Use these tools
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Turn the lines into full shapes and then form them into letters
The only difficulty I had with this design was that the type of font
I wanted to design often couldn't be directly stroke bold, and I had
to put extra dots at the top and bottom to get the look I wanted.
Download FontLab 7
Place all letters mentioned in the brief
o l e d s n c h t i g and punctuation:
, . ! # in
FontLab 7
Adjust side bearings of your letters using the chart provided
(see attached).
Continue to Update Task 3 Eportfolio.
Update your feedback for week 11 in the Google Feedback
Sheet.
Note: When importing letterforms from
Adobe Illustrator pay attention to these two points (see
attached):
- Do not "Round",
click on "Keep".
- Ensure to set preferences ("keep
strokes and colours... and Ai import original
position...", see attached screen grab).
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The difference between font case
Some parts that need special attention
This is me in the pen bit by bit to improve the good, so that it
becomes more smooth and rounded
1 Update and complete Task 3 eportfolio with
all necessary documentation.
Your final submission (sample
final submission & sample good
process)
at the end of the post
should consist of:
1a) Link to download font
1b) Screen Grab of FontLab process (side-bearings)
1c) Final Type construction in Ai JPEG (1024px, 300ppi,
Grayscale)
1d) Final Type construction Ai in PDF
1e) Final JPEG A4 black & white poster (1024px width,
300ppi, Grayscale)
1f) Final PDF A4 black & white poster
1g) Font
Tester/Preview
(optional)
2 Check all eportfolio posts using the private browser.
Ensure all files and images are visible.
3 When creating BW A4 poster; ensure sentence/phrase/words
are the same font size; ensure the byline
<yourfont's_name><by_your_name>,<2023.> is
Univers LT Std. at 8pts. (See sample).
This is my first edition font
This is my second edition of the font, I have changed the size
of the punctuation marks and the spacing and size of the
letters.
This is the final version of my AI's font
Final font presentation (Ai [jpeg])
Final font presentation (Ai [pdf])
Final poster presentation [jpeg]
<Wang Shengxiao><Wang Shengxiao>,<2024.>
Final poster presentation [pdf]
FEEDBACK
Week 13:
In week 13 I was constantly improving my fonts, but in class, when I
checked my fonts with Mr. Vinod, I found that I had forgotten to save the
font process (line draft), so I had to spend a day reworking the process
and put it in my Blog. At the same time, we started to design the poster.
When the teacher checked my poster, he told me that the font in the poster
must be a font, rather than a poster design by moving the shape, and the
size of the letters must be consistent, so I made modifications according
to the requirements and completed the second edition of the poster.
Week 12:
In week 12, we had to learn how to place fonts in FontLab by watching
videos, and then modify and adjust them according to the pictures sent by
the teacher to Teams. The problems in my first version of fonts were
uneven line spacing and inconsistent punctuation with letter size, so I
corrected these problems and completed the second version of fonts.
Week 11:
In the 11th week of learning, we need to carefully perfect all the
digital letters and punctuation symbols by watching the video released by
Mr. Vinod. I think the most difficult thing for me in this process is my
lack of computer knowledge, so I can't adjust the letters quickly and only
modify them bit by bit. I think the result is smooth. Even though it took
a lot of time.
Week 10:
In the 10th week, Mr. Vinod continued to teach us font design. I designed
three editions, but I still felt that it was not creative enough, but
according to the schedule, we needed to digitize.
Week 9:
We must strictly follow the rules of writing for font design, only use
strokes for font design, need to do Monday, this behavior must be writing,
not drawing. It is best not to change the Angle of the pen when designing.
REFLECTION
After more than four weeks of learning, I realized that the process of
learning font design is long and endless, and even a little boring, which
requires a lot of patience and care, so that we can make our design better
and better. Design requires a lot of creativity and imagination, and we need
to use all the knowledge and skills we have learned. This work not only
enabled me to learn font design, but also learned teamwork. Whenever I was
not good at computer knowledge but did not understand it, I would modestly
ask other students, and when they had questions, I would tell them without
reservation. In the process, Mr. Vinod was also very careful to inform us of
every difficulty we might encounter and how to solve them.
📖FURTHER READING
《Thinking with Type》by Ellen Lupton
The book is made up of three aspects: letters, text, and grids, from the
most basic type to the organization of words, to the whole of internal
coordination, to the flexible system. Each section begins with a
descriptive essay on the cultural and theoretical reasons why various
media focus on typeface design. Each article is followed by exemplary
content that not only shows how typeface design is constructed, but also
explains the reasons for it, explaining the practical origins and cultural
reasons behind the habits and common practices of typeface design. An
essential guide for designers, writers, editors and students.
Part One: Letters
The structure and morphology of letters:
This paper introduces the basic structure of letters, including stroke,
terminal, ascending part and descending part of letters.
Classification of fonts:
The classification of typefaces, including serif typefaces, sans-serif
typefaces, handwritten typefaces and decorative typefaces, is
discussed.
Historical evolution of the alphabet:
It tells the historical evolution of alphabet design, from ancient Roman
stone typefaces to modern digital typefaces.
Part Two: Text
Arrangement of text:
This paper discusses the arrangement of text on the page, including the
adjustment of kerning, line spacing and paragraph spacing.
Hierarchy of text:
Describes how to create a hierarchy of text by font size, thickness, and
style so that readers can easily understand and navigate text
content.
Text alignment:
The advantages and disadvantages of left justification, right
justification, center justification and both ends justification and their
application scenarios are discussed.
Part Three: Grid
Grid system:
Explains the role of the grid system in typography, including how to
create and use grids to organize page content.
Modular design:
This paper introduces the concept of modular design, using grid system to
create uniform and flexible design layout.
Case study:
Practical examples show how to use grid systems to design books,
magazines, and web pages.
In this book, the author shows how to apply the theories introduced in the
book to practical design work through the analysis of real projects. Some
design experiments and exercises are provided to help readers master the
skills of font design and typography in practice. This paper discusses the
typesetting technology in the digital age, including web typesetting and
responsive design.
Book Features:
The book contains a large number of pictures and diagrams to help readers
intuitively understand the concepts of font design and typography. Many
practical application cases and exercises are provided for designers and
students to refer to. Covering a wide range of topics from basic theory to
advanced applications, it is a comprehensive guide to font design.
Design is an art of situations. Designers respond to a need, a problem, a circumstance, that arises in the world. The best work is produced in relation to interesting situations—an open-minded client, a good cause, or great content.-Quoted from Appendix.
Fabio Benedetti, lead visual designer and illustrator at Artscode, says:
"I love the examples used in Thinking with Type and the design process
behind them. This is a must-read for every typographic design
enthusiast."
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