TYPOGRAPHY - PROJECT 2

09/10/2019 - 23/10/2019 (Week 7 - Week 9)
Rifath Ali (0335738)
Typography
Project 2 - Font Design

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LECTURE NOTES

Lecture 7: Basic / Describing Letterforms

09/10/2019 (Week 07)

During this week’s lecture we were briefed about the basic terminology that comes into play when describing letterforms.

Ascender Height: The height of upward vertical stem on some lowercase letters that extends above the x-height is the ascender. The ascender must exceed the cap height as the capital letters tend to occupy space. So, to ensure that there is an optical balance the ascender is higher than cap height. It is also called equity.

Cap Height: The height of a capital letter above the baseline for a particular typeface.

Median: The imaginary line defining the x-height of letterforms.

X-height: The height in any typeface of the lowercase ‘x’. When referring to the x height it also means an area.

Baseline: The imaginary line, the visual base of letterforms.

Descender Height: The height of some lowercase letters that extends or descends below the baseline.

Fig. 1.01: Labeled; Ascender height, Cap height, Median, X-height, Baseline & Descender height

Stroke: Any line that defines the basic letterform.

Fig. 1.02: Strokes

Apex/Vertex: The point created by joining two diagonal stems. Apex are above and Vertex are below.

Fig. 1.03: Apex/Vertex

Arm: Short strokes off the stem of the letterform, either horizontal or inclined upward.

Fig. 1.04: Arm; Horizontal & Inclined

Ascender: The portion of the stem of a lowercase letterform that projects above the median.

Fig. 1.05: Ascender

Barb: The half-serif finish on some curved strokes.

Fig. 1.06: Barb

Beak: The half-serif finish on some horizontal arms. This is shorter than a barb.

Fig. 1.07: Beak

Bowl: The rounded form that describes a counter. The bowl may be either open or closed.

Fig. 1.08: Bowl

Bracket: The transition between serif and the stem.

Fig. 1.09: Bracket

Cross Bar: The horizontal stroke in a letterform that joins two stems together.

Fig. 1.10: Cross Bar

Cross Stroke: The horizontal stroke in a letterform that joins two stems together.

Fig. 1.11: Cross Stroke

Crotch: The interior space where two strokes meet.

Fig. 1.12: Crotch

Descender: The portion of the stem of a lowercase letterform that projects below the baseline.

Fig. 1.13: Descender

Ear: The stroke extending out from the main stem or body of the letterform.

Fig. 1.14: Ear

Em/en: Originally refering to the width of an uppercase M, and em is now the distance equal to the size of the typeface (an em in 48 points, for example). An en is half the size of an em. Most often used to describe em/en spaces and em/en dashes. There are 3 types of dashes; -hyphen (break words, joining words), en (in replace of to), em space (sentence within a sentence)

Fig. 1.15: Em & En

Finial: The rounded non-serif terminal to a stroke

Fig. 1.16: Finial

Ligature: The character formed by the combination of two or more letterforms.

Fig. 1.17: Ligature

Leg: Short stroke off the stem of the letterform. It can be either at the bottom of the stroke or declined.

Fig. 1.18: Leg

Link: The stroke that connects the bowl and the loop of a lowercase G.

Loop: In some typefaces, the bowl created in the descender of the lowercase G.

Fig. 1.19: Link & Loop

Serif: The right-angled or oblique foot at the end of the stroke.

Fig. 1.20: Serif

Shoulder: The curved stroke that is not part of a bowl.

Spine: The curved stem of the S.

Fig. 1.21: Shoulder & Spine

Spur: The extension the articulates the junction of the curved and rectilinear stroke.

Fig. 1.22: Spur

Stem: The significant vertical or oblique stroke.

Fig. 1.23: Stem

Stress: The orientation of the letterform, indicated by the thin stroke in sound forms. It can be vertical or diagonal.

Fig. 1.24: Stress

Swash: The flourish that extends the stroke of the letterform.

Fig. 1.25: Swash

Tail: The curved diagonal stroke at the finish of certain letterforms.

Fig. 1.26: Tail

Terminal: The self-contained finish of a stroke without a serif.

Fig. 1.27: Terminal

The full font of a typeface contains numerals and a few punctuation marks as well. Besides uppercase and lowercase, some typefaces also includes small capitals. They are uppercase letterforms draw to the x-height of the typeface.

Fig. 1.28: Small Caps

Although we normally see uppercase numerals, some typefaces includes lowercase numerals. These are also known as nonaligned figures. They are set to x-height with ascenders and descenders. They are best used when using upper and lowercase letterforms.

Fig. 1.29: Lowercase Numerals

Lecture 8: Letters / Understanding Letterforms

16/10/2019 (Week 08)

In this lecture we were looking further into letterforms. As some uppercase letters perceive symmetry, sometimes it is not the case. There are unique arks in serif letters which creates a different serif for thinner and ticker stokes.

Fig. 1.30: Uppercase Serif Brackets & arcs

Although sanserif does not have brackets, they also have slight variations. Such as the width of the slopes differ from stoke to stoke. This maybe a minor effect but it could be a major change when in all the letters.

Fig. 1.31: Uppercase Sanserif Stroke Thickness

The image below (Fig.1.32) shows how complex an individual letterform can be although it may seem similar to the untrained eye. Upon further examination we see the details of the bowls of the letters and the stems.

Fig. 1.32: Comparison of Lowercase A; Helvetica vs Univers

Although the x-height normally describe the size of the lowercase letterforms, the curved letters always go below and above the baseline and the median. This way the curved letters appear to be the same size as the vertical and horizontal stoke they adjoin.

Fig. 1.33: Curved Letters on the Baseline & the Median

As some might say we don’t read letters we read patterns we need to study the negative spaces of the letters. How well we handle the counter when we set type determines how well words hang together. One of the ways to understand this is to study strokes by enlarging it.

Fig. 1.34: Negative Space/Counterfrom 

Lecture 9: -Absent with approval-

23/10/2019 (Week 09)

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INSTRUCTIONS

Project 2: Font Design; Briefing

09/10/2019 (Week 07)

For project 2, we were asked to design a limited number of alphabets based on one of the 9 typefaces we were given during the exercieses. We are to carefully study the font by analysing its anatomical parts. First, we sketch our ideas and digitize it and generate the font. The letters to be characters for this project are: d g i s n o e h t k r . ! ,

Week 7-8

To begin our project, we were asked to select one of the nine typefaces we were given during Exercise 2. Then we were asked to dissect the letters we were assigned for the project. I decided on Futura Bk BT Book as my choice of typeface. I deconstructed the letters k, e, r and n. During this process I got a better understanding of letter construction. I saw the differences in thickness of the legs, arcs, and how the letter e goes out of the baseline and the median. 

 Fig.2.01: Futura Bk BT Book; characters; d g I s n o e h t k r . ! ,

Fig.2.02: Deconstruction of Characters k, e, r & n

After the deconstruction, we were asked to sketch out at least three typefaces we want to create based on the typeface we chose. I did 3 sketches and showed to Mr. Vinod for approval. He liked sketch 2 and asked me to explore it.  

Fig.2.03: Sketch 1

Fig.2.04: Sketch 2

Fig.2.05: Sketch 3

Before I started the construction of the characters, I set the descender, baseline, the median and the ascender. I began with the letter d. I used the rectangle tool and eclipse tool to create the basic form of the letter. I cropped out the areas where I needed it to be detached. As I wanted to create a smooth curve at the top of the ascender, I used a circle and cropped off the unwanted part. I used the same angle for the remaining letters as well in order to maintain consistency. I used the same approach when constructing the letter g.

Fig.2.06: Character Construction; Letter d & g; Using rectangle and eclipse tool

Next, I started on the letter s. I used pen tool to create a stroke in the shape of the letter. Then I created a path from the stroke and cropped from the middle of the spine. I used the same circles as before to create smooth round edges.  

Fig.2.07: Character Construction; Letter s; Using pen tool and eclipse tool

I mainly used the eclipse tool and the rectangle tool to construct the letters o and e. While dissecting the letters earlier, I did realize that the letter e is not proportionately round. So, I kept it in mind when I constructed the letters.

Fig.2.08: Character Construction; Letter o & e; Using eclipse and rectangle tool

To construct the letters i, t and K, I mainly used the rectangle tool. This is because these letters consist of vertical stroke/stem and legs. I curved the edges of the rectangle to the same size as previous characters.

Fig.2.09: Character Construction; Letter i, t & k; Using rectangles and eclipse tool

After that, I started working on the letter r. This time also I used the same tools as before. Although I did face some difficulties in creating the right ear. I used the eclipse tool mainly and also the pen tool to construct the ear of the r.

Fig.2.10: Character Construction; Letter r; Using eclipse and rectangle tool

For the letters n and h, the main difference is in the length of the stem as the stem of letter h touches the ascender. I mainly used rectangle and eclipse tool to create the letters. But I also used pen tool to fill and make some of the edges smoother.

Fig.2.11: Character Construction; Letter n & h; Using eclipse, rectangle and pen tool

I created the remaining characters using the same tools and methods as before.

Fig.2.12: Character Construction; Special Characters; Using eclipse, rectangle and pen tool

Fig.2.13: Initial Font

Week 8-9

After digitizing all the characters, we were asked to merge all paths into one path and import the characters to FontLab. First, to create a new file we went to font info; metrics and dimensions and key in the dimensions for the ascender, median, baseline and the descender. We were instructed to calculate the measurements from the base line.

Fig.2.14: Create New FontLab File; Set Font Dimensions

Fig.2.15: Character Imported to FontLab; Letter d

Once all the characters were imported, I moved on to adjust the kerning as instructed. I selected all the characters and clicked to new metrics window. There I set 50 as a default spacing for all the characters. Then I did specific adjustments for certain letter.

Fig.2.16: FontLab, New Metrics Tab; Kerning Characters

Before I proceeded to export the font, I asked for feedback from Mr. Vinod. He pointed out to give letter spacing on the left and right bearing of the letter i. And kerning after the letter r on the right bearing. He also advised to improve the stress on letters n and h. He suggested I refer to Futura and see how the letter curves up. Aslo, he asked to reduce the spacing between the words. 

After receiving the feedback, I decided to reconstruct the letters n and h. I studied the stress and curves of the letters in Futura a bit more. I gave the shoulder a bit more curvature and lowered the left edge. I brought the same adjustments to the letter h.

Fig.2.17: Character Re-construction; Letter n; Using eclipse tool, rectangle tool and pen tool. Referencing to letter n of Futura

Fig.2.18: Adjusted Letters n & h

I brought the changes advised by Mr. Vinod and some more adjustments to the characters before exporting the font.

Fig.2.19: FontLab, New Metrics Tab; Finalized Kerning

Fig.2.20: Final Font

Fig.2.21: Final Font; PDF

Next, I proceeded to export the font I created. I decided to name it Detach as parts of the characters are disconnected.

Fig.2.22: Export Font; Detach.ttf

Fig.2.23: Detach.ttf; Installed

After generating the font, we were asked to create a poster with the phrase “god is in the kerning” as the final task for the project.

Fig.2.24: Poster Process

Fig.2.25: Poster; Final Result

Fig.2.26: Poster PDF; Final Result

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FEEDBACK

Week 7

General Feedback: On the e-portfolio PDF is for final submission only, to show the process of our work, JPG file is enough. We are to create only one label for typography. Mr. Vinod advised us to stay away from playful typefaces when we come up with our designs for the typeface. It needs to be relatively serious. The trick in designing typeface is where to introduce a small style.

Specific Feedback: Mr. Vinod pointed out to me to explain the idea of the expression briefly in the caption on my e-portfolio.

Week 8

General Feedback: Continuously update the e-portfolio.

Specific Feedback: Mr. Vinod and Mr. Shamsul mentioned that the digitization is working out well. The curve on top could be more which will make it more like a tear drop instead of a sudden curve. The dot in the lowercase I is contrastingly larger compared to the letter itself. The contrast in the thickness need to be reduced as the dot got sharp edges on the sides. 

Week 9

General Feedback: -Absent with approval-

Specific Feedback: I sent over my digitized letters to Mr. Vinod via FB and he responded saying it seems good. He then asked to combine the paths and transfer them to FontLab, kern pairs, and then generate the font. Later on I shared the FontLab file regarding kerning and spacing. He pointed out to give letter spacing on the left and right bearing of the letter i. And kerning after the letter r on the right bearing. He also advised to improve the stress on letters n and h. He suggested I refer to Futura and see how the letter curves up. He also mentioned that the word spacing is too much asked to reduce it a bit.

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REFLECTIONS

Experiences: When I started the project with the dissection, I learned how characters are constructed. I knew how to create certain arcs and angles after that, and it helped with the rest of the project. I learned more when I started constructing the personalized characters and it got easier as I got more letters done. FontLab was a whole new experience for me and now I have gained the basic knowledge of how to generate a typeface.

Observations: One thing I observed when dissecting was that not all stokes are same in thickness and not all arcs and bowls are in proportion. I also observed how round letters go beyond the median and descender. I observed how a minor angle of the stem or stroke can throw off the whole sentence off balance. This made me redo certain characters along the way.

Findings: Without prior understanding of how typefaces are created, I found it challenging at first. Some of the strokes and arcs were not in the same proportion and it bothered me. However as I went deeper into it, I found out how small details matter when designing a typeface.

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FURTHER READINGS

Grid Systems in Graphic Design by Josef Müller-Brockmann

09/10/2019 – 16/10/2019 (Week 7 - Week 8)

Fig. 5.01: Grid Systems in Graphic Design by Josef Müller-Brockmann

This book focuses on handling visual problems and how to solve them in terms of conception, organization and how to design them with greater speed and confidence. It also talks about how to familiarize with the essentials of the grid and on ways of producing it and how to utilize it.

Although this book focuses on the grid system, I was able to gain some insights about font design. It contained details of different characteristics of letterforms. This allowed me to find out more details about the topics we discussed in class. The book also highlighted on how studying the classic typefaces can be helpful to designers. As this allows us to understand what the timeless criteria are which produce a refined and artistic typeface that makes reading easy.

Lettering & Type: Creating Letters & Designing Typefaces by Bruce Willen & Nolen Strails

16/10/2019 – 23/10/2019 (Week 8 – Week 9)

Fig. 5.02: Lettering & Type: Creating Letters & Designing Typefaces
by Bruce Willen & Nolen Strails

As the title suggests, this book was focused around designing typefaces. The book starts off with an explanation of how typefaces evoke wide range of emotions and the importance of legibility. The authors also mentions how typographic systems change according to new challenges faced. They also highlighted on the importance of finding a balance between the aspiration and practicalities of the designs.

Further into the book, it discusses the typographic systems and how they are connected to one another. These systems show how typography evolved over time. They are, writing, lettering and type. Within this chapter I came across some new typographic terminologies in letter structure; Taper, Bracketed & Unbracketed Serif, Reflexive & Transitive Serif, Bilateral & Unilateral Serif to name a few. This was followed by an explanation of Book Typefaces and Display Typefaces. Book typeface was developed for large bodies of text and display typefaces are commonly used for posters, signs, web banners and such.

The most intriguing part in this book for me was Chapter 3: Creating Letters. This chapter proved to be very relevant to the assignment 2. It notes that designers need to have a clear perception of the concept before we even begin to sketch our ideas. This will result in a more precise and powerful outcome. It was also mentioned that lettering and typeface design takes time. It is a slow and meticulous process. First, we are to sketch on paper and then perfect and render it digitally. Sometimes it takes multiple sketches before we digitize it. This process will allow us to identify flaws in our design.