Task 3: Type Exploration & Application

7.11.23- 29.11.23/ Week 11 - Week 14
Nitish A/L Naveen Kumar 0346592,
Advance Typography, Bachelor of Design in Creative Media,
Task 3: Type Exploration & Application

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LECTURE

All Lectures

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INSTRUCTIONS

 

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Task 3: Type Exploration & Application

For task 3 we were tasked to create a font that is intended to solve a larger problem or meant

to be part of a solution or explore the use of an existing letterform in an area of interest or experiment, as an experiment it must be novel and unique.

PROPOSAL

I had 3 ideas in mind but all three were similar in their own way as its all fiction or old language.

 

SKETCHING

Fig 1.0 Angethas Moria 12/11/23

After placing down the actual font I started making guidelines and creating the font in my own way.

Fig 1.1 Guidelines  12/11/23

Fig 1.2 creation of font 12/11/23

Fig 1.3 Uppercase & Lowercase with guidelines 12/11/23

After I was done with the font I started attempting to create the numerals.

Fig 1.4 Numerals 1&2 12/11/23

When I was doing this I decided to make the font look a bit different so I did two versions. I ended up picking the 1st numerals which is the one above as the final product.

Fig 1.5 punctuations & Others 12/11/23

After I was done with the numerals the punctuation and the others was next. I started by laying down the original font and seeing until which glyphs did not have the font anymore. As expected the last 2 brackets did not have the original font.

Fig 1.6 Tracing and final 12/11/23

After I placed my versions of the font on the original I started making thee last 2 brackets which took me some time to make after that I was finally done with the creation of the typeface. Now I have to place them in Fontlab for the creation of the font.

Fig 1.7 Fontlab 20/11/23

After finalising my fonts the next thing I did was brought them to fontlab, as you can I see I pasted all from uppercase to lowercase, punctuations and glyphs.

Fig 1.8 Letters A-J  20/11/23

Fig 1.9 Letters K-S 20/11/23

Fig 2.0 Letters T-Z  20/11/23

After pasting the letters from AI to fontlab, I then started laying out the letters both uppercase and lowercase to start the process of kerning and adjusting.

Fig 2.1 Adjusting & kerning of Uppercase letters  20/11/23

Fig 2.2 Adjusting & kerning of Lowercase letters  20/11/23

Fig 2.3 Adjusting & kerning of Glyphs  20/11/23

Fig 2.4 Adjusting & kerning of Numerals  20/11/23

Once I was done with the kerning and adjusting I started typing out words and sentences to further correct any mistakes that might have been there.

Fig 2.5 (Masterbedroom)  20/11/23

Fig 2.6 (Volcanic Eruption) 25/11/23

Fig 2.7 (The Quick Brown Fox) 25/11/23

Fig 2.8 (My Beautiful) 25/11/23

After trying out and tinkering I was finally done with the font and have successfully exported it. Now its time to create the presentation and application for the typeface.

Fig 2.9 (RevirieRue) 27/11/23

The name of the font is RevirieRue, the circle in the centre is The Quick brown fox jumps over the lazy fox, the dark green being uppercase and light green being lowercase. The sides are both glyphs and numerals.

Fig 3.0 (A,a) 27/11/23

This is an Uppercase A and a Lowercase a.

Fig 3.1 (noah&glphs) 27/11/23

The top says Noah and the bottom are glyphs with the middle being period and comma.

Fig 3.2 Speak Friend And Enter 27/11/23

The message written on the door is Speak Friend And Enter, taken inspiration from Lord of the Rings.

Fig 3.3 Glyphs 27/11/23

Fig 3.4 Numerals and Punctuations 27/11/23

Fig 3.5 Lowercase 27/11/23

Fig 3.6 Uppercase 27/11/23

Fig 3.7 Full font 27/11/23

FINAL OUTCOME

Fig 3.8 Full Font Final JPG 29/11/23

 
Fig 3.9 Final Font Presentation 29/11/23

FONT DOWNLOAD:  REVIRIERUE

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FEEDBACK

Week 13

General Feedback: Absent

Week 12

General Feedback: Absent

Week 11

General Feedack: Make sure you know whats the purpose you're creating the font.

Specific Feedback: make sure the fonts are made correctly like the ascender height and descender.

Week 10

General Feedack: Make sure the fonts lookk the same and not have distortions between them.

Specific Feedback: Make sure the stroke weight are all the same.

Week 9

General Feedack: When creating the font remeber to make it consistent

Specific Feedback: make sure the lines are corrected

Week 8

General Feedback: Independent study week

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REFLECTION

Experience

Although my experience in this work is not new as I have learnt this during my typography module, the experience I got from this task was that it was a lengthy process to create an entire font from uppercase to lowercase, numerals and glyphs. It was fun for me as I got to create a typeface that I liked which was runes. I have always been intrigued by mythology as well as fantasy and knowing that runes existed in this day and age I really liked the idea of making runes.

Observations

From my observations the existing font for runes was nice in its own way having the natural element looking like its hand written. On the other hand I liked the runes being more simplified and looking sharp as if it's structured like blocks. After looking thru the existing font I could tell there was some inconsistencies of the font as well as the basic glyphs were not done fully like the curved brackets and the square brackets. While doing the font in my own way I too have seen some inconsistencies and have tried to change them but some are harder than others and I couldn't figure out the problems in the end.

Findings

Ive found that making an entire font is not easy as there are a lot of things that come to play such as the consistencies of the letterform from uppercase translating to lowercase and the numerals and glyphs looking no different from the letterform. It blows my mind that it could take years just to make a simple font for example like Futura, although typography is not in my alley I definitely have more respect for people who dedicate their life to typography. Ive also found out that doing this module that I have started being critical when seeing fonts in public places thinking why is the font made that way or how it could be improved or even how did they make the font to look that way.

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FURTHER READING

Fig 4.0 I.D.E.A.S computer typography basics by David Creamer 20/11/23

Fig 4.1 Kerning pg 12 20/11/23

Kerning, creates a pleasing look to the text. Most word processors do not allow kerning adjustments and most page layout programs apply kerning automatically. On the other hand certain letter may require some manual adjustments. Kerning also is required when using all uppercase letter combinations such as VA and WA.

Fig 4.2 Identifying individual parts of a character pg 8 20/11/23

The design of the font depends on the relationship between the uppercase/ascender letters and the x-height. Fonts with a large x-height are easier to read than fonts with small height characters. The difference between the fonts is the depth of the descenders and their shape.

Fig 4.3 Identifying and selecting a font pg 8 20/11/23

Characters must rest along a baseline, below the baseline is descender and above the x-heights are ascenders. X-height is located between the top of the non-ascender portion and the baseline.

Fig 4.4 Typographic Systems by Kimberly Elam (2/9/23)

Fig 4.5 Modular Systems (pg.130) (2/9/23)

It was hard at first to get used to indesign and its function but after seeing Mr Vinod's tutorial on modular and after reading from his book I understood how to place and create design in boxes.

Fig 4.6 Dilatational Systems (pg.56) (2/9/23)

Dilatational was very hard for me as I had no idea on how to bend the words and create a smooth wave, after seeing from this book it helped me out a bit and with the help of YouTube I got the understanding on how I can bend the words to create shapes like circles or waves.

Fig 4.7 A type primer by John Kane (25/11/23)

Fig 4.8 describing letterforms pg 3 (25/11/23)

As with any craft that has evolved over 500 years, typography employs a number of technical terms. These mostly describe specific parts of letterforms. Knowing a letterform's component parts makes it much easier to identity specific typefaces.