TYPOGRAPHY / TASK 3: TYPE DESIGN AND COMMUNICATION
11/11/2024 – 17/12/2024 (Week 8 – Week 13)
Valerius Ethan Wirawan / 0372774
Typography / Creative Media / School of Design
Task 3: Type Design and Communication
TABLE OF CONTENT
1. Lectures
2. Instructions
3. Process Work and Feedback
4. Final Outcome
5. Feedback
6. Reflection
7. Further Reading
1. LECTURES
The lectures are in Task 1 and Task 2.
Task 1: Exercises
Task 2: Typographic Exploration & Communication
2. INSTRUCTION
Fig. 2.1. Module Information Booklet (MIB)
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3. PROCESS WORK AND FEEDBACK
Task 3: Type Design & Communication
Letter Dissection
I choose Gill Sans MT to deconstruct, by deconstructing I can analyze the details and nuances.
Research and Sketches
Using the keywords of 'cube' 'japanese' fonts, the reference are searched in Pinterest. Although the sketches includes more variety of styles.
Fig. 3.2. Font reference (15/11/2024)
Fig. 3.3. Manual Sketch of HOGB and hogb (15/11/2024)
Fig. 3.4. Manual Sketch of oledsnchtig,.#! (20/11/2024)
Digitalization of Letterforms
Fig. 3.5. Font Digitization (21/11/2024)
I had received minor feedback from Ms. Vitiyaa, she told me to revise the 'n' and make it higher than the x-height. For proportion purposes I made it in between the gap of the 'i'.
Fig. 3.6. Font Size Details (25/11/2024)
After finalizing the letterform designs I measure the heights. Here below are the size details.
- Ascender: 768.85px
- Decender: -234.28px
- Baseline: 0px
- X-height: 500px
Fig. 3.7. Final Type Construction (16/12/2024)
Fontlab7 Development
After doing the finilization of the letterforms, I did fontlab as what Mr. Vinod Instructed in the tutorial video.
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Fig. 3.8. Fontlab development (10/12/2024)
The font is named 'Sashimi', the name is inputed in the fontlab. Then, the font size details must be inputed also.
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Fig. 3.8. Fontlab development (10/12/2024)
All the font size settings inputed must be exactly like the measurement (pixels) before. Also ensure the settings above are applied. Finally, I adjust the left and right side bearing of the letterforms.
Typographic Poster Design
Fig. 3.9. Typographic Poster Development (17/12/2024)
4. FINAL OUTCOME
Hereby is the link to download the font.
Fig. 4.1. Font download - TrueType Font (15/12/2024)
Fig. 4.2. Final Type Construction (JPEG - 15/12/2024)
Fig. 4.3. Final Type Construction (PDF - 15/12/2024)
Fig. 4.5. Typographic Poster (PDF - 15/12/2024)
5. FEEDBACK
Week 13
General Feedback: The poster's composition needs to be revised. I revised the leading and composition to make better typographic poster.
General Feedback: The poster's composition needs to be revised. I revised the leading and composition to make better typographic poster.
Specific Feedback: Ms. Vitiyaa approved the last one.
Week 12
General Feedback: This week, we focused on digitizing our work in FontLab by copying and pasting the final digitized typefaces from Illustrator into the software. Once imported, I do the side bearing adjustments to ensure the font was clean and readable. After completing the digitization in FontLab, we proceeded to export the font and work on the poster.
General Feedback: This week, we focused on digitizing our work in FontLab by copying and pasting the final digitized typefaces from Illustrator into the software. Once imported, I do the side bearing adjustments to ensure the font was clean and readable. After completing the digitization in FontLab, we proceeded to export the font and work on the poster.
Week 11
General Feedback: Building on the feedback from the previous week, I worked on refining my typefaces to make them more symmetrical and polished. I used shapes to define the spacing and proportions of each letter, ensuring consistency in size and structure.
Specific Feedback: All letterforms are neatly designed.
General Feedback: Building on the feedback from the previous week, I worked on refining my typefaces to make them more symmetrical and polished. I used shapes to define the spacing and proportions of each letter, ensuring consistency in size and structure.
Specific Feedback: All letterforms are neatly designed.
Week 10
General Feedback: This week, I digitized my font in Illustrator. The digitalization process uses pen tool to trace my manual sketch image (dim by 50%).
Specific Feedback: Ms. Vitiyaa said my work is good, needed adjustment in letter n.
General Feedback: This week, I digitized my font in Illustrator. The digitalization process uses pen tool to trace my manual sketch image (dim by 50%).
Specific Feedback: Ms. Vitiyaa said my work is good, needed adjustment in letter n.
Week 9
General Feedback: This week, we worked on improving the HOGB letters using graph paper. I sketched various HOGB designs based on the feedback received and explored typefaces suitable for digitization. Additionally, we dissected the HOGB letters in Illustrator to analyze the characteristics of the 10 fonts assigned in earlier tasks.
Specific Feedback: My manual typograhy is good overall, but some letters require slight compositional adjustments. While some designs are less appealing, others stand out for being unique and neat.
General Feedback: This week, we worked on improving the HOGB letters using graph paper. I sketched various HOGB designs based on the feedback received and explored typefaces suitable for digitization. Additionally, we dissected the HOGB letters in Illustrator to analyze the characteristics of the 10 fonts assigned in earlier tasks.
Specific Feedback: My manual typograhy is good overall, but some letters require slight compositional adjustments. While some designs are less appealing, others stand out for being unique and neat.
Week 8 (Independent Learning Week)
General Feedback: During Independent Learning Week, I focused on sketching HOGB letters on graph paper. Experimented with flat-tip pens, brush pens, and round-tip pens. I also explored different typeface styles.
General Feedback: During Independent Learning Week, I focused on sketching HOGB letters on graph paper. Experimented with flat-tip pens, brush pens, and round-tip pens. I also explored different typeface styles.
6. REFLECTION
Experience
On this task, I noticed a significant improvement in my approach compared to previous exercises. I began with sketches which allow me to explore various headlines and layout options. Feedback and critiques are crucial in my progress. Overall, the basics gained from earlier tasks made this experience smoother.
Observation
I discovered that new ideas often come from discussions with friends. In design small changes can impact big differences. Ideation must be executed because we won't ever know if it works or not if it isn't executed.
Findings
Analyzing a typeface allows me to understand its structure better, emphasizing the need for precision and consistency to create designs that are both clear and visually appealing. During this process, I learned that readability is essential, especially when deciding on the size and weight of the text, as it directly affects how easily people can read it. Additionally, crafting a unique and expressive headline is just as important for grabbing attention and drawing readers in. By focusing on these aspects, I can apply this knowledge to explore new, creative ideas in the future.
7. FURTHER READING
An Essay on Typography by Eric Gill
Fig. 7.1. 'An Essay on Typography' by Eric Gill; introduction by Christpher S. (left); original cover (right)
I was reading the fourth chapter which is Punch-cutting, a cornerstone technique in the history of typography, integral to the creation of early typefaces. This meticulous process involves carving precise letterforms into metal punches, which are then used to create molds, or matrices, for casting type. Emerging during the advent of movable type, punch-cutting became a vital craft in the Renaissance, with pioneers like Johann Gutenberg refining the method to revolutionize the printing process. His innovative approach ensured consistency and clarity in printed text, setting a standard for the future of typography.
The process begins with the design of a letterform, either inspired by existing styles or crafted from original ideas. A skilled punch-cutter then engraves this design into a hard metal punch, creating a reverse image of the character. This punch is pressed into a softer metal to form the matrix, which serves as the mold for casting type. The precision required at each stage is extraordinary—every detail of the punch must be exact to ensure the letters cast from the matrix align perfectly, maintaining uniformity in printed materials.
Beyond technical mastery, punch-cutters imbue their work with artistic vision. Their choices in shaping curves, lines, and proportions give typefaces their unique personality, influencing how text is perceived. Figures like Eric Gill exemplified this blend of craftsmanship and artistry, emphasizing that typography is as much about aesthetic expression as it is about functionality. Over the centuries, punch-cutting has played a pivotal role in shaping the visual language of books, advertisements, and art movements, with distinctive typefaces often evoking particular cultural or historical contexts.
Although modern technology has largely replaced traditional punch-cutting, its legacy endures. The principles of precision, balance, and creative intent remain foundational in contemporary type design. Punch-cutting represents more than a technical process—it’s a craft that bridges utility and artistry, reflecting broader cultural and artistic trends while shaping how we engage with the written word. Its influence is a testament to the enduring relationship between design, communication, and human creativity.
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