ADVANCED TYPOGRAPHY - TASK 3: TYPE EXPLORATION & APPLICATION

02.11.2022 - 02.12.2022 (Week 5 - Week 9)
Christie Angelica Bakhary / 0350655 
Advanced Typography / Bachelor of Design in Creative Media
Task 3: Type Exploration & Application

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LECTURES
All lectures 1 to 5 were completed in Task 1/Exercises: Typographic System and Task 2: Key Artwork & Collateral.

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INSTRUCTIONS

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PRACTICAL

Task 3A: Type Exploration

Idea Exploration

Below is my proposal for the ideas that I thought to make :

Out of the two ideas I had, I decided to went with the second one, which is to make a typeface inspired by Rencong, one of the traditional weapons from Aceh, Indonesia.

Sketches

For the first idea, I tried to sketch some letters inspired by the Lontara script. The characteristic of this script is that it has a ‘blocky’ shape and rounded edges. 

Fig. 3.1: Lontara script-inspired font rough sketch

However, in the middle of sketching, I realized that this was not what I wanted and was not as appealing as I wanted it to be. 

So that I move on to my second idea, which is to make a Rencong-inspired typeface. I chose this specific weapon for my inspo because it has a unique shape which I thought would be interesting to refer to. 

Fig. 3.2: Rencong Aceh Weapon

Firstly, I traced its outer shape, identified its characteristics, and applied it to the letters. Below are my sketches for the uppercase letters, numbers, and punctuation:

Fig. 3.2 Rencong-inspired letters sketch (Uppercase)

Digitization
Next, I proceed to digitize it on AI, and below is the draft outcome:

Some of the letters didn’t seem consistent with one another, so I fixed them more and used the grids and ruler tool to make them consistent.

Fig. 3.x:  Uppercase Letters draft outcome #2

Fig. 3.x:  Lowercase Letters draft outcome

Fixing and refining some letters:

Fig. 3.x: Before-After refining letter 'A'

Fig. 3.x: Before-After refining letter 'M'

Fig. 3.x: Before-After refining letter 'N'

Fig. 3.x: Before-After refining letter 'X'

After finalizing the typeface, I measure the cap height, median, and baseline, before moving on to FontForge.

Fig. 3.x: Guidelines measurements

Measurements (from baseline):
Capital height: 650 px
Median / x-height: 500 px

FontForge Progression

Finally, the next step was to import all the final fonts to FontForge. As I haven't used this application before, I searched for a tutorial on how to import font from Adobe Illustrator into the FontForge app.

Fig. 3.x: Video tutorial of importing font from AI to FontForge

Following the step in the video above, I rearrange all the letters, numbers, and symbol in AI into different artboards, so that I can easily import them later,

Fig. 3.x: Separating letters to different artboards

Fig. 3.x: Separating numbers and symbols to the different artboard

Next, I save them with an SVG format file and imported them to FontForge. While importing, I faced a problem where my letters don't fit in with the lines which makes them look messy. 

Fig. 3.x:  Letters didn't fit in the line

Thus, I tried to find several ways, like resizing the artboard on AI, to fix it but it still remains the same. So in the end, I adjusted and reposition them one by one manually which took me more time for it.

Fig. 3.x: Fixed letters

Final Outcome

Fig. 3.x: Final Uppercase

Fig. 3.x: Final Lowercase

Fig. 3.x: Final Number and symbols

Link: https://drive.google.com/file/d/1VCuUJ2QUHKUI0uc53-lMfz2ZqM5VJsjy/view?usp=sharing

Task 3B: Type Application
Ideation
After finishing the font, we're tasked to do its application. The idea I had was to make a merchandise collection, such as key rings, t-shirt, etc. My purpose and goals are to create a modern-traditional artwork that can attract youngsters and people of any age. By doing this, they can remember back the traditional culture of Indonesia. 

For the design I wanted to include batik as well to really show out the traditional design of it. For it, I chose Batik MegaMendung.

Fig. 3.x: Applications in tshirts, totebag, and mug

FEEDBACK

Week 10

General Feedback :

When designing on the type we must think about the application afterwards.

Personal Feedback :

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Week 11

General Feedback : Don't forget to update the feedback sheet

Personal Feedback : It is better to remove the decorative lines. Remember to make lowercase as simple as possible with less ornaments

Week 12

General Feedback : Install Fontlab. Not only designing the typeface but start working on the summarization of research and final deliverables, including visual images of the font in use. This is also important.

Week 13

No Class

Week 14

General Feedback :

Make sure to finish all blog and assignments

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REFLECTION

Experience

This was indeed one of the most challenging task in this module, as we're required to create all upper and lowercase as well as numbers and symbols. However, with the help of the knowledge from pervious semester, I'm able to do it more easily.

Observation
One of the most important thing I learned is that working with a good time management will be very beneficial and make all things easier

Findings
Through this task, I learned how to create a detailed stroke and how to identify as well as apply the characteristic of an object to a design/typeface.

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FURTHER READING

Typography of System Design

Author: Kimberly Elam

Fig 1 Book Cover - Typography of System Design 

Typographic organization has always been a complex system in that there are so many elements at play, such as hierarchy, order of reading, legibility, and contrast. In Typographic Systems, Kim Elam, author of our bestselling books, Geometry of Design and Grid Systems, explores eight major structural frameworks beyond the gridincluding random, radial, modular, and bilateralsystems. By taking the reader through exercises, student work, and professional examples, Elam offers a broad range of design solutions. 
Once essential visual organization systems are understood the designer can fluidly organize words or images within a structure, combination of structures, or a variation of a structure. With clarity and substance, each systemfrom the structured axis to the nonhierarchical radial arrayis explained and explored so that the reader comes away with a better understanding of these intricate complex arrangements. Typographic Systems is the seventh title in our bestselling Design Briefs series, which has sold more than 100,000 copies worldwide.

Week 10: 

The Art of Type and Typography
Author: Mary Jo Krysinski

Fig 2 Book Cover - The art of Type & Typography

The Art of Type and Typography is an introduction to the art and rules of typography. Incorporating the industry standard ― InDesign ― for typesetting from the outset, this book serves as a guide for beginning students to learn to set type properly through tutorials, activities, and examples of student work.

Week 11: 

Typography Essentials
Author: Ina Saltz

Fig 3 Book Cover - Typography Essentials 

Typography Essentials: 100 Design Principles for Working with TypeTypography Essentials: 100 Design Principles for Working with Type is a practical, hands-on resource that distills and organizes the many complex issues surrounding the effective use of typography. An essential reference for designers since 2009, Typography Essentials is now completely refreshed with updated text, new graphics and photos, and a whole new look.

Week 12: 

Advanced Typography: From Knowledge to Mastery
Author: Richard Hunt

Fig 1.3 Book Cover - Advanced typography 

Advanced Typography: From Knowledge to Mastery

In Advanced Typography, expert practitioner and instructor Richard Hunt goes beyond the basics to take your understanding and usage to the next level. Taking a practical approach, the book combines visual, linguistic, historical, and psychological systems with a broad range of applications and audience of type today. From the challenges of designing across media and cultures, to typing as information and craft, Hunt marries theoretical context with applied examples so you feel confident in improving your skills as an advanced typographer.