Advanced Typography - Final Task
18.10.2023 - 29.11.2023 (Week 8 - Week 14)
Sorcha Griselda / 0353056
Advanced Typography / Bachelor of Design in Creative Media / Taylor's University
Task 3: Type Exploration and Application
INSTRUCTION
Task 3: Type Exploration and Application
In Task 3, the objective is to develop a font based on our area of interest
or to address a specific problem. The font should feature expanded letter
spacing, distinct differentiation, and optimized proportions, with a focus
on practical applications to demonstrate its effectiveness. The ultimate
goal is to produce a comprehensive .ttf font that promotes accessibility. The project can be
presented in any format relevant to the issue being addressed or explored.
Type Exploration
1) Idea Proposal
| Fig 1.1 Proposal for Initial Ideation | 11/10/2023 |
After considering the feedback on the ideation proposal, I chose to move
forward with enhancing and developing the initial concept, focusing on
designing a typeface for cereal box packaging. Additionally, I conducted
further research to determine the specific cereal brand I would be working
on.
2) Visual Reference
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| Fig 2.1 Chosen 'Cheerios' Visual Reference | 11/10/2023 |
I decided to choose 'Cheerios' as my visual reference and inspiration
before starting on the creation of my typeface.
3) Sketches & Digitalize Process
I begin designing my font in Adobe Illustrator, aiming to match the
thickness of the initial cereal font I'm using as a reference. Before I begin with the sketch, I created grids so it would guide me to
design my typeface.
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| Fig 2.2 Grids and Guidelines | 27/10/2023 |
I follow specific rules to maintain consistency in the typefaces, including
rounded the angle of the curves, and the height of the typefaces, which are
set at 500px and 700px.
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| Fig 2.3 First Digitalization Attempt | 27/10/2023 |
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| Fig 2.4 Second Digitalization Attempt | 30/10/2023 |
- Uppercase Letters
Fig 2.5 Second Digitalization Attempt [with Guidelines] | 10/11/2023
- Lowercase Letters
Fig 2.6 Second Digitalization Attempt [with Guidelines] | 12/11/2023
- Numerals
Fig 2.7 Second Digitalization Attempt [with Guidelines] | 13/11/2023
- Punctuations/Symbols
Fig 2.8 Second Digitalization Attempt [with Guidelines] | 14/11/2023
After completing the second phase of digitalization, I proceeded to enhance all the typefaces by incorporating textures to achieve a font that resembles the appearance of cereal. I crafted various shapes symbolizing the texture of cereals and integrated them into each of my typefaces.
'CrunchInk' Typefaces
Fig 2.9 Digititalize Process [PDF] | 19/11/2023
4) Generate Font - Fontlab 8
Once content with my final typefaces, I proceeded to import them into Fontlab 8, mindful of the approaching deadline for this final project. To be transparent, I faced some challenges during the import, with certain letter shapes becoming distorted. However, I noticed that I had imported them with the wrong file size. After encountering this issue, the importing process went on smoothly.
- Letters in Fontlab
Fig 2.10 Process of Importing to Fontlab | 19/11/2023
Fig 2.11 Process of Adjusting the Fonts in Fontlab | 19/11/2023
Fig 2.12 Metrics Tab | 19/11/2023
- Kerning Process
To be frank, this step consumed the most time initially because I didn't follow any guides; instead, I manually adjusted the kerning based on my perception of aesthetics. However, I later discovered that Mr. Vinod provided guidelines on proper kerning. Consequently, I decided to redo all of my kernings, resulting in a significantly improved outcome compared to my initial approach.
Fig 2.13 Process of Kerning [Uppercase Letters] | 19/11/2023
Fig 2.14 Process of Kerning [Lowercase Letters] | 19/11/2023
Fig 2.15 Process of Kerning [Punctuations/Symbols] | 19/11/2023
Fig 2.16 Process of Kerning [Numerals] | 19/11/2023
Final
CrunchInk Regular Font Download
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| Fig 2.17 CrunchInk - Regular Font [JPEG] | 21/11/2023 |
Fig 2.18 CrunchInk - Regular Font [PDF] | 21/11/2023
Type Application
1) Presentation of 'CrunchInk' Font
For the font presentation, I want to showcase a compelling cereal promotion style, with consistent design elements on each page.
2) Color Palette
In keeping with the 'cereal' design, I went with a neutral color scheme that is reminiscent of wheat. In order to have a vibrant color that would go well with the overall designs, I also used purple.
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| Fig 3.1 Chosen Color Palette | 21/11/2023 |
3) Font Presentation
In order to make the presentation more alive and engaging and to reflect the minimalistic and abstract styles, I mostly utilize the colors white, grey, and purple to highlight the font and create contrast.
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| Fig 3.3 Final Font Presentation [JPEG] | 25/11/2023 |
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| Fig 3.4 Final Font Presentation [JPEG] | 25/11/2023 |
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| Fig 3.5 Final Font Presentation [JPEG] | 25/11/2023 |
Fig 3.6 Final Font Presentation [PDF] | 25/11/2023
4) 'CrunchInk' Font Application
I decided on designing a packaging design for the font application since I believe it goes well with my font styles. In order to apply my fonts as a food and drink branding—"CrunchInk"—I chose to create a cereal poster, metal cans, cereal box packaging, and an energy bar poster.
5) Application Process
At first I designed several product mockups, however after receiving
feedback, Mr Vinod suggested that I create the font application based on
the 'cereal' theme and not to use black as the background color.
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| Fig 3.7 Failed Font Application Process | 22/11/2023 |
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| Fig 3.8 Failed Font Application Process | 22/11/2023 |
Packaging Designs
I use Adobe Illustrator to develop my collateral first, and followed up by using Adobe Photoshop to mock the packaging designs.
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| Fig 3.9 Font Application Design Process | 23/11/2023 |
Final Submission
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| Fig 4.1 Final Font Application Design [JPEG] | 27/11/2023 |
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| Fig 4.2 Final Font Application Design [JPEG] | 27/11/2023 |
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| Fig 4.3 Final Font Application Design [JPEG] | 27/11/2023 |
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| Fig 4.4 Final Font Application Design [JPEG] | 27/11/2023 |
Fig 4.5 Final Font Application Design [PDF] | 27/11/2023
FEEDBACK
Week 8 | General Feedback
Focus on a clear, straightforward topic that addresses a specific
problem without extending too far into a broader area.
Week 9 | General Feedback
Make sure that the typeface that you want to create, motivates
you!
+ Specific Feedback
- You can make typographic advertisement, collaterals
- Choose and specify on the cereal's brand, which one you want
to explore/improve and widen the brand's engagement
Week 10 | General Feedback
For easier comparison, place uppercase and lowercase next
to each other when creating a typeface.
+ Specific Feedback
It looks good, let's see on the finished outcome.
Week 11 | Specific Feedback
The typeface seems consistent.
Week 12 | Specific Feedback
Adjust the kernings more, following the
guidelines that have been given.
Week 13 | Specific Feedback
- Change the background color
- You can show different angles of cereals
and just write down the "Crunchink", then
some short tagline (and that's your font
application done)
Week 14 | Specific Feedback
- The font presentation makes sense
- Finish up your blog and include the
font text generator box
REFLECTION
Experience
I found the tasks to be quite exhausting in the initial stages, but
they became enjoyable towards the end when I successfully created a new
font and presented it. Designing a whole typeface was a fun and tough
process, especially if you are passionate about making a font that you
want to grow or even start from scratch. Even though there were many
difficulties along the way, I found it to be a worthwhile experience. It
let me realize that not all typefaces are generated by straightforward
drawings; consistency and proper kerning are just as important.
Observation
Throughout this task, I observed that since punctuation marks had
different sizes and positions compared to letters, making them was
more difficult than making letters. I really had a hard time on
creating the '&' as the shape of it is quite complex. This
assignment also taught me the value of color and how it affects
presentation and collateral. Color is a key component that enhances
visual communication.
Findings
I now see why it can take considerable time to produce a high-quality
font since there is always room for improvement. Seeing how small
changes may affect a letterform's overall balance, center of gravity,
and white space was fascinating. Perfectly balanced typefaces may seem
easy to make, but a closer look at the craft reveals that even the
simplest forms require careful attention to detail. This focus
includes not only each character individually, but also how they
interact with one another.
FURTHER READING
1. Initiate the process
- By defining the task and specifying the set, style, and characteristics of the font.
- For the first font, it's advisable to opt for a minimal character set.
2. Establish deadlines
- Even when designing a font for personal use, cultivating the habit of working within set timelines can be beneficial.
3. Conduct thorough research
- Choose 3 to 10 typefaces closely aligned with your design plans.
- While avoiding direct replication, studying their graphic features, sizes, and other parameters provides insights into construction logic.
4. Finalize the character set
- Although this should be determined in the initial stages, now meticulously select all the characters you intend to create. This may include a single language, such as basic Latin, numbers, and punctuation.
5. Engage in sketching
- Begin by sketching some characters to outline the general shapes of the font. Once satisfied with the style and basic shapes, progress to detailing specific letters.
6. Commence spacing
- Once the drawn character set is complete, focus on spacing.
- Assign accurate values for the left and right half-approaches to ensure appropriate spacing between characters.
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