Advanced Typography / TASK 3
2024/4/22 - 2024/7/26
LECTURE
Anatomy of Typefaces
Understanding the anatomy of typefaces is crucial for typographic design. Key elements include:
- Baseline: The line on which most letters sit.
- Cap Height: The height of capital letters from the baseline.
- X-Height: The height of lowercase letters, specifically the height of the letter 'x'.
- Ascender: The part of a letter that extends above the x-height.
- Descender: The part of a letter that extends below the baseline.
- Serifs: Small lines or strokes regularly attached to the end of a larger stroke in a letter.
Classifications of Typefaces
Typefaces are broadly classified into several categories:
1. Serif
Serif typefaces have small lines or strokes attached to the end of larger strokes in letters. They are considered traditional and are often used in printed works like books and newspapers.
2. Sans Serif
Sans serif typefaces lack the small lines at the ends of letters. They are seen as modern and are commonly used in digital media due to their clean and simple appearance.
3. Script
Script typefaces mimic handwritten text. They can range from elegant and formal to casual and playful, often used for invitations and decorative purposes.
4. Monospaced
In monospaced typefaces, each character occupies the same amount of horizontal space. They are often used in coding and typesetting.
5. Display
Display typefaces are designed for large headings and are not suitable for body text. They can be highly decorative and are used to attract attention.
Principles of Good Typography
Good typography enhances readability and user experience. Here are some principles to consider:
1. Legibility
Legibility refers to how easily individual characters can be distinguished from one another. It is influenced by the typeface design and the size of the text.
2. Readability
Readability is about how easily a body of text can be read and understood. It is influenced by the arrangement of type, including line length, line spacing, and alignment.
3. Hierarchy
Typographic hierarchy is used to guide the reader’s eye to the most important information first. This can be achieved through variations in size, weight, and style.
4. Alignment
Text can be aligned in different ways: left, right, centered, or justified. Left alignment is most common for body text, while centered alignment is often used for titles and headings.
5. Contrast
Contrast in typography involves using different typefaces, sizes, weights, and colors to create visual interest and distinguish different parts of the text.
6. Spacing
Proper spacing, including letter-spacing (tracking), word-spacing, and line-spacing (leading), is essential for readability and aesthetic appeal.
Choosing the Right Typeface
Choosing the right typeface depends on the context and purpose of the text. Consider the following:
- Purpose: Is the typeface for a formal document, a casual website, or a decorative invitation?
- Readability: Ensure the typeface is easy to read, especially for body text.
- Compatibility: Choose a typeface that complements the overall design and tone of the project.
Combining Typefaces
Combining typefaces can add visual interest and enhance communication. Here are some tips:
1. Contrast
Choose typefaces with contrasting styles, such as a serif and a sans serif, to create a clear distinction between different types of information.
2. Harmony
Ensure the typefaces harmonize with each other. This can be achieved by selecting typefaces from the same type foundry or designer.
3. Limit
Limit the number of typefaces to two or three to maintain a cohesive design.
Digital Typography
In the digital age, typography has expanded beyond print to include web and mobile design. Considerations for digital typography include:
1. Responsive Design
Ensure text is readable on various screen sizes by using responsive design techniques.
2. Web Fonts
Web fonts, such as Google Fonts, allow designers to use a wide range of typefaces on websites without relying on system fonts.
3. Accessibility
Consider accessibility by using sufficient contrast, readable type sizes, and ensuring text can be resized by users.
PROCCESS
This is a complete font design project. My idea is to design a font in the style of art deco, with a minimalist design. Basically, its design will be a derivative of the abandoned design in project2 key artwork, where Mr. Vinod rejected an early design of mine. It was not successful as a complete signature, but I think the derived font still has potential. I have been thinking about designing a font that can be used for engraving. It must be minimalist and clear, so that it can be engraved with a carving knife.
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I started working on the project very early. I started working on the letters based on the font file of the abandoned project2. Based on the design concept, I named this font Bronze, a font that will appear on copper nameplates. Bronze has a high degree of modularity, and the arcs and angles of each letter are reused. Since I used the stroke function of font forge in the early stage, the original on AI only had basic paths, so the first version of bronze was completed quickly.
I submitted the first version of Bronze to Mr. Vinod for evaluation, and he pointed out some problems. First, the width of the J is too wide, which will cause the adjacent letters to be too far apart on the vertical line. The arc of the S should have a longer horizontal line transition, and the N cannot completely make the turning point and the end flush, otherwise it will make the end look longer visually.
At the same time, Mr. Vinod thinks that the current Bronze is a bit too thin, which will appear unclear in the text display, and the end of the path should not be just a simple rectangle, but should be adjusted to fit the horizontal line.
After receiving feedback from Mr. Vinod, I started the second version of Bronze. The second version of Bronze is a rounded version, thicker, and modified the shape and proportion of letters such as S and N. At the same time, the lowercase letters and numbers were expanded.
Rounded fonts were not my original design concept, but just for the convenience of adjusting the font. The second version of Bronze is not a finished product in theory. After confirming with Mr. Vinod, I redid the bronze. I no longer relied on the stroke function of Font Forge, but completed the stroke in AI. The final version of bronze was a huge project. So the uppercase and lowercase letters, including numbers and symbols, were redesigned and drawn. The new bronze has a cut corner end like a carving knife, and the whole font looks much tougher.
The angle cut is not applied to all the fonts. I tried to imitate the action of a carving knife to achieve some visual balance. Some of the angles are parallel to the ground, while some letters still use a 90-degree angle.
Since I didn’t have much time left, I quickly imported the font into font forge.
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After installing Bronze’s ttc file, I started the final part of the project, completing the 5 font showcase posters.
I will use art deco style to show my fonts
The style of the poster still implements the bronze design concept, using the most basic geometric shapes and lines to form the decoration.
The background pattern of the poster is basically modified from the guide lines I used when drawing the font.The Dawnfield poster is from a logo design I did. I’ve been exploring the art deco style for a while
FURTHER READING
Further reading: The Elements of Typographic Style Author: Robert Bringhurs
Link: Amazon
Robert Bringhurst's The Elements of Typographic Style is a highly respected reference in the field of typography, blending practical information, historical context, and poetic insight into the art of typography. This book is an essential guide for anyone interested in the principles and practice of typographic design.
Chapter 1: The Grand Design
In the first chapter, Bringhurst introduces the overarching concepts of typography. He discusses the philosophy behind typographic design, emphasizing the importance of harmony and proportion in creating beautiful and functional text. Bringhurst also touches on the history of typography, tracing its evolution from classical inscriptions to modern digital fonts.
Chapter 2: Rhythm & Proportion
This chapter delves into the rhythmic and proportional aspects of typography. Bringhurst explains how to achieve visual harmony through the careful use of spacing, margins, and grid systems. He provides detailed guidelines on selecting and combining typefaces to create a cohesive and aesthetically pleasing design.
Chapter 3: Harmony & Counterpoint
Bringhurst explores the concept of typographic harmony and counterpoint, examining how different typefaces can complement or contrast with each other. He discusses the principles of typographic composition, including the use of hierarchy, alignment, and spacing to create clear and effective text layouts.
Chapter 4: Structural Forms & Devices
In this chapter, Bringhurst examines the structural elements of typography, such as letters, words, lines, and paragraphs. He provides practical advice on designing and arranging these elements to enhance readability and visual appeal. Bringhurst also discusses typographic devices like ornaments, borders, and rules, offering insights into their effective use.
Chapter 5: Analphabetic Symbols
This chapter focuses on the use of non-alphabetic symbols in typography, including punctuation marks, mathematical symbols, and special characters. Bringhurst explains the history and function of these symbols, providing guidelines for their appropriate and effective use in typographic design.
Chapter 6: The Etiquette of Typography
In the final chapter, Bringhurst addresses the ethical and aesthetic considerations of typographic design. He discusses the responsibility of typographers to maintain the integrity and readability of text while also pushing the boundaries of creativity. Bringhurst provides practical advice on balancing tradition and innovation in typographic design.
FEEDBACK
Week 13 General feedback: Adjust the stroke part of the font, and add an angle of the font at the end of the font, which looks more tough. The number part is also produced closer to the font style version Specific feedback: Font display posters cannot be modified, and can only be used to use unmodified fonts. Its width and shape must be consistent Week 12 General feedback: Completed the introduction of the TTC font file, and began to make the font display art production production Specific feedback: There is still a problem with the word distance of some fonts, and further adjustment needs to be adjusted Week 11 General feedback: Completed the production of uppercase and lowercase Specific feedback: The length, width and height of some letters need further modification Week10 Specific Feedback: The font is too thin, the proportions of some letters need to be adjusted, and the curves of fonts such as S and D need longer straight lines to transition. General Feedback:Basic feedback on fonts, no problem with main styles, PPT needs to be made Week 9: *Public holiday Week 8 *Independent learning week (IDL)
Reflection
Experience
The experience of this task has given me a better understanding of typography. I have also learned how to turn my design ideas into reality, which is of great significance to my future design career.
Observation
I find that personal style is a kind of aesthetic difference. When you find things and styles that you think are beautiful, you will actively add them to your own works. When you understand your own aesthetics more and more, the so-called personal style will become more obvious and mature.
Findings
In an era when subjective humanistic art is prevalent, typography still retains the most primitive beauty, the beauty of rules. This is the most primitive art that cannot be covered by the mask of subjective humanism.
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