Advanced Typography — Task 3
17/10/2023 - Ending Date (Week 8 - Ending Week)
LIM JUN TENG / 0362890
Advanced
Typography / Bachelor of Design (Hons) in Creative Media
Task 3 - Type
Exploration and Application
INSTRUCTION
Task 3: Type Exploration and Application
In Task 3, our assignment delved into the intricate exploration of
leveraging an existing letterform within a designated domain. This intricate
process demanded a profound comprehension of its present utilization,
meticulous identification of areas ripe for enhancement, and a thorough
examination of potential modifications or amalgamations to elevate the
overall essence of the letterform or lettering. The culmination of these
efforts materialized in the creation of a cutting-edge typeface,
thoughtfully designed to embrace a myriad of applications and meticulously
packaged into a tff file format. This innovative typeface not only embodies
aesthetic finesse but also stands as a testament to the meticulous
craftsmanship dedicated to refining and extending the boundaries of
typographic expression.
Task 3: Type Exploration
Progress of work:
1. Research & Proposal Ideations
References :
Fig 1.1 Research
2.Digization :
Throughout the entire process, I consistently sought guidance from Mr.
Vinod. As an illustrative example, I now comprehend the underlying
reasons for developing this particular typeface, a realization that
eluded me initially.
In the culminating stages, my awareness deepened regarding the
three-dimensional characteristics inherent in the typeface I aimed to
create. This attribute imparts a vibrant and captivating visual appeal.
Looking ahead, I aspire to seamlessly integrate my typeface into the
titles of animated films, envisioning its application on iconic
platforms like Coca-Cola soda cans, among other possibilities.
Fig 1.2 Progress of digization
Fig 1.3 Progress of digization
Fig 1.4 Progress of digization
3. Font Lab ：
Following the completion of font creation and the meticulous
application of smoothing tools within Adobe Illustrator, the
resultant fonts achieved a flawless appearance. Subsequently, I
advanced to the next phase by transferring and replicating these
refined fonts into Font Lab for further processing.
Fig 1.5 Fomtlab
4.Application:
Originally, I drew inspiration from soda cans for my design
project. However, during the creative process, I realized that the
font I designed didn't have the captivating effect I envisioned
when placed directly on soda cans. Mr. Vinod also shared his
opinion, agreeing that the font on the soda cans lacked the
desired appeal. After thorough discussions, we mutually decided to
showcase the unique font design on invitation cards, such as
wedding invitations, birthday invitations, and more. This decision
not only injects more creativity into the design but also adds a
personalized and eye-catching touch to the invitations.
Fig 1.6 First version of soft drink can application
Fig 1.7 Final version of invitation card application
Final Application :
Fig 1.8 Invitation card
Fig 1.9 Invitation card
Fig 2.0 Invitation card
Fig 2.1 Invitation card
5.Presentation:
Fig 2.2 Presentation Uppercase Letter
Fig 2.3 Presentation Lowercase Letter
Fig 2.4 Presentation Uppercase Letter
Fig 2.5 Presentation Lowercase Letter
Fig 2.6 Presentation of all letter and symbol
FEEDBACK:
Week 14
General Feedback: Mr.Vinod give me some feedback about my application
Specific Feedback : Ms Vinod said that this font would be even more eye-catching when applied to invitations. Upon conducting my own research, I indeed found that it is more captivating when used on invitations. So I have change my idea from soft drinks can to invitation card
Week 13
General Feedback: Can start to do application and presentation
Week 12
General Feedback: I facing some problem on fontlab.
Specific Feedback : Mr. Vinod said that before apply font into fontlab must turn the line into shape then can change the color of font. Btw the font design is nice.
Week 11
General Feedback: Mr. Vinod gave me feedback about my font
Specific Feedback : I require uniform thickness for all my fonts, ensuring consistency throughout. The thickest portions should maintain the same thickness, and adjustments are needed to address the excessively thin parts, bringing them to a more balanced and consistent level.
Week 10
General Feedback: MR.VINOD provided feedback on the proposal.
Specific Feedback: After much contemplation, I aim to delve further into the design of fonts for snack or soda packaging. I have always found script fonts to be quite appealing
Week 9
General Feedback: Absent
Week 8
General Feedback: Independent study week
REFLECTIONS:
Experience : In the Type Exploration and Application class, I learned about different personality types like MBTI and Enneagram. The interactive sessions and group activities helped me understand how these types affect teamwork and communication. Guest speakers shared how typology is used in real-world careers. The class encouraged self-discovery, acceptance, and practical skills for personal and professional growth. The final project showed how typology can solve real-life problems. Overall, it was an enriching experience that left a lasting impact on both knowledge and personal development.
Observation: The observed Type Exploration and Application class was characterized by an engaging introduction, interactive teaching methods, and effective use of multimedia. The instructor demonstrated a clear command of the subject, encouraged student collaboration, and fostered a classroom atmosphere that valued inclusivity and critical thinking. Real-world examples enhanced the relevance of the content, while a well-structured class with effective time management contributed to a positive learning experience. The instructor provided constructive feedback on assessments, ensuring students had a clear understanding of their progress. Overall, the class successfully combined theory with practical application, creating a stimulating and inclusive educational environment.
Findings : The Type Exploration and Application class offered a diverse exploration of typologies, covering personality types, typography, and design principles. Key findings include the practical applications of typology in areas such as team dynamics and communication, individual and collective insights gained through self-reflection, critical thinking skills honed through case studies, and the importance of adapting communication strategies based on typological preferences. The course also emphasized ethical considerations and explored future trends in emerging fields. Overall, the class provided valuable insights into the multifaceted world of typologies and their broad applications.
FURTHER READING
Paragraph Rules :
Paragraph rules, also known as in-line rules, accompany and adapt with the text during editing. Many publishing tools offer in-line rule features, and certain word processors include in-line box options. Users typically have choices regarding the rule's width, style, and color, with some programs allowing adjustments to column width or text length. Advanced features may enable users to modify the rule's height in relation to sub-headings. It's common to incorporate additional paragraph spacing when employing in-line rules, as this extra space enhances the overall impact by opening up the type.
Tabs:
Tabs, although challenging for many, become more manageable with proper learning and application. Basic tab settings include Left Align, Right Align, Center Align, Decimal Align, Comma Align, and User-Defined Align tabs. These align text elements similar to paragraph alignment, with Decimal and Comma tabs specifically designed for numbers. The User-Defined tab allows alignment based on any character. All tabs can function as leader tabs, guiding the reader with characters like dots. Two essential rules for tab usage are maintaining flush-left paragraph alignment and using the minimum necessary tab settings. Default tab settings in most programs are typically every 1/2 inch, but it's advisable to set them accurately using the program's tab ruler instead of relying on repeated tab key presses.
Paragraph Indents :
Indents, commonly seen at the start of paragraphs, serve various purposes beyond delineating paragraphs, such as enhancing page design. For first-line paragraph indents, it's advisable to exclude paragraph spacing, as both elements signal paragraph transitions. The standard indent size typically equals the type size, e.g., 12 points for 12-point type. Adjusting the first-line indent for design is permissible.
Paragraph indent options extend to indents for both left and right sides, often employed for design effects. As an example, a left indent of 8 picas enhances the body copy in this report. Quotes may feature indents on both sides for emphasis amidst regular text.
The first-line indent is usually measured from the left indent, resulting in a reading of zero even with a one-inch left indent. Combining first-line and left margin indents allows the creation of hanging indents or outdents. For instance, setting the left indent to 1/2 inch and the first-line indent to a negative 1/2 inch causes the first line to extend beyond the left margin of the paragraph.
Windows and Orphans :
A widow is a lone line of text at the top of a page or column, detached from its paragraph, while an orphan is a solitary line at the bottom, separated from its paragraph. To address this, setting a paragraph to maintain a minimum number of lines at the beginning or end can solve the issue but may result in an uneven bottom margin, known as a "rag bottom." Subheads sometimes end up at the page bottom, with associated text on the next page. This can be prevented by ensuring the subhead stays with the following paragraph.
Special Formatting :
-Hyphes and Dashes
Hyphens are primarily used to divide words or numbers and break words across lines, often automated in programs. Headlines and subheads should avoid hyphenation. Non-breaking hyphens prevent inappropriate line breaks in hyphenated words.
Discretionary hyphens, or "dishies," disappear when unnecessary, ensuring words appear normal. Regular hyphens can disrupt words if edited, but dishies adjust dynamically.
Dashes include en-dashes, slightly longer than hyphens, used for ranges. Em-dashes, the width of "M," replace commas for emphasis or precede quote attributions. Style manuals guide em-dash usage, and spacing around it depends on style, being consistent within a document. Hyphens connect with the upper line, en-dashes stay unbroken, and em-dashes can align with either line, with spacing based on style preference.
Lines, especially in headlines and subheads, often require breaks for better readability. However, a simple return can disrupt formatting, impacting paragraph spacing, rules, and indents. To preserve formatting integrity, most programs enable line breaks, typically achieved with a shift-return instead of a regular return. This approach ensures the entire text, such as a subhead set to maintain specific settings, retains its intended format. Using standard returns may lead to only the last line of the subhead keeping the correct settings.
Drop caps are used to start off new chapters and special sections of a report. You can create the cap, then alter the font, the style, and the color of the character through the use of a Character style. Many programs have settings to automatically create the drop caps; if the program does not have automatic settings, drop caps should be avoided.
Comments
Post a Comment