Advanced Typography - Task 3: Type Exploration and Application

 

Advanced Typography - Task 3: Type Exploration and Application

November 10, 2023

11.10.2023 - 29.11.2023 / Week 7 - Week 14
Xing YU / 0361463 / BA of Design (HONS) in Creative Media
Typography 
Task 3

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INSTRACTION

Task 3: Type Exploration and Application

For this task, we have the right to choose the direction of the project. We need to determine one of the following three options:

1) Create fonts, solve a broader problem, or be part of a solution in an area of interest.

2) To study and improve the application of current letter forms, to increase their usefulness in areas of interest, and to look for possible solutions.

3) Conducting experiments to uncover potential weaknesses or explore deeper in areas of interest, providing creative solutions to solve existing problems or add value through the clever use of materials.

1. Idea Proposal

This week, I shared my creative proposal with Mr. Vinod, and I chose the blue and white porcelain theme font from Idea2. Mr. Vinod suggested that you can choose only some of these elements to create the font to avoid being too complicated and reduce the number of elements, and also suggested that you can try to make a similar cut-out effect to add a unique artistic sense. These suggestions provide a wider range of possibilities and creative space for the development of the project.

In my search, I browsed a range of blue and white porcelain patterns combined with the inspiration of DM Serif Display. I plan to create a unique style of blue and white porcelain body, in order to show unique artistic beauty and exquisite design elements.

fig 1.1 Blue and white porcelain pattern 18.10.2023

2. Sketches

First of all, I drew my ideal font with paper and pencil, which met my aesthetic standards. Then I began to think about how to extend and extend these font designs. I consider adjusting the font size, thickness, and spacing to suit different typesetting needs.

fig 2.1 Sketches 20.10.2023

fig 2.2 Sketches 20.10.2023

Based on the first draft of the letters, I integrated the four-pointed star element into the design, making the classical atmosphere become vivid and modern in the strokes.

fig 2.3 Sketches 20.10.2023

3. Digitization

Digitizing (The capital form of a Chinese character)

First, I created a grid to make the font. I made a prototype of the font and added a quadrilateral shape to each stroke.

Fig 3.1 Digitized letters A B C D E F 29.10.2023 

Fig 3.2 Digitized letters G H I J K L 29.10.2023 

Fig 3.3 Digitized letters M N O P Q R29.10.2023 

Fig 3.4 Digitized letters S T U V W X 29.10.2023 

I then proceeded to create the font based on the letters, with a height of 1000 pixels and a top height of 500 pixels. During this creative process, I adjusted the shape of the letters and the thickness of the lines.

Fig 3.5 Adjust letters A B C D E F 29.10.2023. 

Fig 3.6 Adjust letters M N O P Q R29.10.2023. 

Fig 3.7 Adjust letters G H I J K L 29.10.2023. 

Fig 3.8 Adjust letters S T U V W 29.10.2023. 

This is my creation process. I digitized my draft into Illustrator and added elements of blue and white porcelain. Using Illustrator's shape builder tool, subtract the overlap and create a cutout effect that makes the font look like a cut-out.

fig 3.9 progress 1.11.2023

fig 3.10 progress 1.11.2023

fig 3.11 progress 1.11.2023

Next, I digitized all capital letters. Below is a draft of my lines and the final result.

fig 3.12 Digital (Outline) 1.11.2023

fig 3.13 Digital (in caps) 1.11.2023

Digitizing (lowercase)&Numbers and symbols

Fig 4.1 Digitized (lowercase) a b c d e f 29.10.2023 

Fig 4.2 Digitized (lowercase) g h i j k l 29.10.2023 

Fig 4.3 Digitized (lowercase) m n o p q r 29.10.2023 

Fig 4.4 Digitized (lowercase) s t u v w x 29.10.2023 

Fig 4.5 Digitized (lowercase) y z 29.10.2023 

I found that "p" and "q" can be made by mirroring.

Fig 4.5(1) Digitized (lowercase) 29.10.2023 

fig 4.6 Digital (Outline) 1.11.2023

fig 4.6 Digitized Numbers and symbols 3.11.2023

fig 4.7 Digitized Numbers and symbols (outline) 3.11.2023

fig 4.8 Digitizing lowercase letters, numbers and symbols 3.11.2023

Final font

fig 5.1 final font 25.10.2023

fig 5.1 final font 25.10.2023

4. Font Forge

Next, I imported all the fonts into Font Lab and carefully adjusted the spacing between each letter to ensure the overall layout was balanced and coordinated.

fig 6.1 font lab 25.10.2023

fig 6.2 font lab 25.10.2023

5. Font Presentation

In this lesson, Mr. Vinod showed us some examples of font presentation. I was inspired to further expand on the theme of my font and create a unique font presentation with Chinese classical style.

fig 7.1 Font Presentation 25.10.2023

fig 7.2 Font Presentation 25.10.2023

fig 7.3 Font Presentation 25.10.2023

fig 7.4 Font Presentation 25.10.2023

6. Font Application

I found some pictures with landscape features as the background. And I chose the lyrics of my favorite singer Jay's "Blue and White Porcelain" as the caption. The song is known for its soulful melody and poetic lyrics, which complement the beauty of blue and white porcelain.

fig 7.1 Font Application 25.10.2023

fig 7.2 Font Application 25.10.2023

Next, I continued to look for two pictures of products with ink and green color. The first is the elegant ink bamboo thread fragrance, deep dark green and delicate design to show a peaceful and harmonious atmosphere. The second is a beautiful landscape painting gift box, with a dark green tone, incorporating natural scenery.

fig 7.3 Font Application 25.10.2023

fig 7.4 Font Application 25.10.2023

Final Type Exploration and Application

Downloadable font link: https://drive.google.com/file/d/1Tk6m11rOBlsVIqqKk9Q0Vxq2QXar2V5p/view?usp=sharing

fig 8.1 Final Font Presentation 10.112023

fig 8.2 Final Font Presentation 10.112023

fig 8.3 Final Font Presentation 10.112023

fig 8.4 Final Font Presentation 10.112023

fig 8.5 Final Font Application 25.11.2023

fig 8.6 Final Font Application 25.11.2023

fig 8.7 Final Font Application 25.11.2023

fig 8.8 Final Font Application 25.11.2023

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FEEDBACK

Week 8   Task 3

Independent Learning Week

Week 9   Task 3

General Feedback: 

You need to design a new font. Reduce some blue and white porcelain patterns, make it look simpler. You can do it with just one of the elements, like flowers, birds, fish.

Specific Feedback: 

In this lesson I share my idea proposal with Mr. Vinod. On the advice of Mr. Vinod, I decided to further optimize my blue and white porcelain theme fonts. He suggested that I reduce some elements to avoid making the design too complicated. In addition, Mr. Vinod suggested that I design the font in a style similar to paper cutting, which would not only highlight the texture characteristics of blue and white porcelain, but also make the overall design fresher and more unique.

Week 10   Task 3

General Feedback: 

no feedback

Specific Feedback: 

no feedback

Week 11   Task 3

General Feedback: 

Required complement process.

Specific Feedback: 

The reference font needs to be written to e-portfolio.

Week 12   Task 3

General Feedback: 

Put the process in the e-portfolio.

Specific Feedback: 

Finally, the font needs to be distinctive.

Week 12   Task 3

General Feedback: 

The presentation of the font needs to be reflected through the font expression.

Specific Feedback: 

no feedback

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REFLECTION

Experiences

In choosing this direction, we can use our experience to create a unique font. I learned how to turn these designs into editable font files. With skills like character mapping, font concatenation, and font metrics, I was able to ensure that my fonts performed consistently across applications.

Observations

I found that many of the patterns in blue and white porcelain patterns could not only be simply reused but could also be subtly extended and expanded to create entirely new artistic compositions. By cleverly combining different pattern elements, I find that I can break down the original boundaries and form more creative and unique designs. This creative extension makes blue and white porcelain not only a traditional decorative craft, but also an artistically expressive medium that allows people to appreciate unique and vibrant patterns.

Findings

By using Illustrator to create fonts, I have found that many letters can be created by mirroring or copying upside down. In this process, a simple modification is made in the shape of the letter, and the desired new letter can be achieved through mirroring and flipping operations.

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FURTHER READINGS

Fig.8.1 Typography, Referenced (2012)

Typography, Referenced (2012) is a deep and rich work on the art of typography, The authors are Jason Tselentis, Allan Haley, Richard Poulin, Tony Seddon and Gerry Leonidas. This book provides a comprehensive and systematic introduction to the history, principles, techniques, and applications of typography through the perspectives of multiple authors, enabling readers to better understand and appreciate the complexities of typeface design.

In terms of key ideas, the book emphasizes the importance of typeface design, which not only plays a key role in conveying text messages, but also has a profound impact on visual communication and cultural expression. It explores the evolution of typefaces, from hand-written in history to complex designs in the digital age, showcasing the design philosophy and artistic ideas behind typefaces. The book also introduces the work of many outstanding designers, as well as their design concepts, so that readers can better understand the creative process of typeface design.

In terms of style, Typography, Referenced is a serious and in-depth style, which contains not only academic discussions but also a large number of examples and legends, making abstract design theories more specific and easy to understand. Each chapter is tightly organized around a single theme, with clear logic and structure. At the same time, the book incorporates a large number of visual elements, so that readers can intuitively feel the beauty and changes of font design while reading.

For me personally, this book gave me a deeper interest in typeface design. In the process of reading, I deeply realized that font is not only a way of presenting words, but also a carrier of artistic expression and cultural inheritance. The historical review of font design in the book gives me a clearer understanding of the design schools of different periods, and also makes me pay more attention to the details of font selection and layout that are often ignored in daily life.

In addition, the cases of some designers mentioned in the book and their design concepts have had a positive impact on my design thinking. Their innovative and groundbreaking designs have inspired me to think creatively about font design and made me pay more attention to expressing uniqueness and innovation in design.

Overall, Typography, referenced (2012) is a rare and comprehensive guide to the art of typography. Through the in-depth study of font design, it provides readers with a deeper aesthetic experience, but also inspires a higher pursuit of design. This book is not only a complete interpretation of the art of typography, but also a profound inspiration for design thinking.