19.05.2022 - 08.06.2022 / Week 8 -11
Yung Siew Weng / 0339847
Typography / Bachelor of Design (Hons) in Creative Media
Task 3A / Type Design and Communication
LECTURE
Lecture recordings 01-06 are completed in Task 1 : click here to view!
Lecture recordings 01-06 are completed in Task 1 : click here to view!
WEEK 8 : TYPO TASK 3A @ TYPEFACE CONSTRUCTION (SHAPES)
In this particular video recording, Mr. Vinod had briefed and guided us on how to contrast a typeface and basic on digitalising the letterforms.
RECORDING SUMMARY :
1. Design letter : a e t k g r i y m p n ! # , . and choose 3 (suggest on choosing one descender, one ascender and one within the x-height).2. Before began the task, do some research on typefaces.3. Sketch out 5-6 possibilities of our own variant letterforms.4. Decide 1-2 options from the possibilities that we feel the most strongly about.
5. Upon selecting the option, look for a reference of an existing typeface that comes close to the design that we are working on. Use the closet typeface as a reference to deconstruct.
6. Deconstruct the letterform.
Fig 1.1 Deconstruct the letter, lecture recording (week 8 / 19.05.2022)
During the process of deconstruct, we can look for the details on how the letter are been constructed. Understand the small details that go into constructing the letterform. By having the understanding and knowledge after deconstruct the letterform, we will then take the knowledge to digitalise or construct the sketch that we had developed.
7. Create artboard in Adobe Illustrator (AI)
Fig 1.2 create a new art board (week 8 / 19.05.2022)
Fig 1.3 artboards (week 8 / 19.05.2022)
8. Create a guideline for the letterforms construction.
Fig 1.4 create x-height reference (week 8 / 19.05.2022)
Fig 1.5 creating guide (week 8 / 19.05.2022)
The bowl of letter "d" that exceed the x-height below and above are known as overshoot. The reason for this is because rounded form always look smaller than the other letter as having a lesser surface area than a form that has a flat edge.
9. Form a basic structure of letterform.
Fig 1.6 basic structure line (week 8 / 19.05.2022)
Drag the whole elements (fig 1.5) to the 1000 x 1000px art-board. Click [command + R], drag and drop the guide to identify the x-height, sender line, cap line and the descender line.
10. Using the basic structure to create or digitalize own designed letterform based on the sketch. Tools such as shape tool and pen tools are suggested to use in creating the letter. Never do anything to the original construction and always leave those parts but duplicate the art board for some changes (so that we can always revert during the designing process). Try more explorations to get the best outcome!
11. Noted the unit size for the lines.
Fig 1.7 unit size, lecture recording (week 8 / 19.05.2022)
The reason of creating the unit size is we will know what the units are when we transfer the elements to font lab or other applications.
WEEK 10 : TYPO TASK 3A @ ILLUSTRATOR TO FONTLAB 5 DEMO
In this particular video recording, Mr. Vinod had briefed and guided us on how to transfer the glyphs from AI to Fontlab and also how to generate font by using FontLab 5.
RECORDING SUMMARY :
1. Measure the height of the letters in the cap height, ascender height, descender height in the AI file.
2. Combine the letter forms by the pathfinder unite tool to ensure there are no anchor points.
3. Importing the glyphs into fontLab
Fig 2.1 Font info, lecture recording (week 8 / 19.05.2022)
click [file > create a new font file]
[file font info > name your font > weight Regular > edit the font info (fig 2.1) > Metrics and Dimensions > edit the heights]
*underlines are basically the automatic lines that you create below the descender.
4. Importing the letters/ copy pasting the letters into your various cells [double click on the click > once open paste your letter]
5. Go to the matrix window, increasing the size and type the letter and start kerning (make all the left and right bearing to zero, then just find the more possible bearing size)
6. Save the file, go back to file font to check whether we have key in all the necessary information.
7. Then, [file > generate font], add the font to our computer system and use it in illustrator file or others.
WEEK 10 : TYPO TASK 3A @ FONTLAB 7 DEMO
After the lecture recording, illustrator to FontLab 5 demo, I continued watching on the following lecture recording that provided by Mr. Vinod and I recorded the important notes that captured in the particular video recording.
RECORDING SUMMARY :
1. Based on the previous recording instructions, make sure all the letter are now one vector artwork. If it is a stroke, go to [object > path > outline stroke]
2. Before copy the letter from illustrator, drag the x and y coordinates from the corner of ruler [Ruler: command +R] to the glyph that intend to copy. Copy and go to the FontLab, insert to the particular letter.
3. When the first time attempt to paste a vector artwork from illustrator, there were be a pop-up menu, make sure select vector instead bitmap.
4. Go to [window > new metrics tab] and type all the letter in the metrics table. Edit the space or the side bearing.
5. Adjusting the space.
Fig 3.1 kerning bar, lecture recording (week 8 / 19.05.2022)
6. Export the font [file > export font as.. > default > export].
TASK 3A : TYPE DESIGN AND COMMUNICATION
MODULE INFORMATION
INSTRUCTION
In this task, we will tasked to design a limited number of western alphabets. To begin, choose an existing font design that adheres to the direction that you would like to head in. Study the font carefully by analysing its anatomical parts.
Start with rough sketches and upon approval begin digitisation of the drawings - software for digitalisation shall be determined in class. Artworks shall be printed out for critique sessions followed by refinements. If time permits we shall generate the font for actual use.
We will endeavour to create a typeface that has the hallmarks of a good typeface; subtlety, character, presence, legibility and readability. Below are the letters that we will design: a e t k g r i y m p n ! # , .
EXPLORATION
After watched the lecture recordings (week 8 @ Task 3A Typeface Construction), I gained some knowledge and ideas about how to constructing a letterform. So, I started my exploration on take some reference online to create my own letterforms.
The following references were taken from the online sources, Pinterest :
Fig 4.1 Modern fonts, little nood studio (week 8 / 21.05.2022)
Fig 4.2 Goku font, Anthony James (week 8 / 21.05.2022)
Fig 4.3 Alcubierre Typefaces, Matt Ellis (week 8 / 21.05.2022)
Fig 4.4 offpaper Logo by Fabio Basile (week 8 / 21.05.2022)
Fig 4.5 idea exploration sketch (week 9 / 23.05.2022)
WEEK 9 / 25.05.2022
GENERAL FEEDBACK : The sketch is almost like writing. There is no consistency in the stroke but there is consistency in the appearance.
SPECIFIC FEEDBACK : Develop your letter "O" and then develop the other letter based on the letter "o" form. Try to avoid on having a very long ascenders and descenders.
After receiving the feedback and suggestion from Mr. Vinod, I continued my journey on creating the letterform. Meanwhile, Mr. Vinod also asked on my preference and suggest me to go with option #04.
Fig 4.6 The selected sketch (week 9 / 25.05.2022)
Then I began my exploration into deconstructing letterforms. I picked the typeface 'Futura Std' to deconstruct as a reference since it seemed similar to what I had planned. I chose the letter 'g' , 'k', and 'm' for deconstruction.
Fig 4.7 deconstruction (week 9 / 25.05.2022)
Fig 4.8 outline of deconstruction (week 9 / 25.05.2022)
In details :
Fig 4.9 deconstruction, Futura letter 'g' (week 9 / 25.05.2022)
Fig 4.10 deconstruction, Futura letter 'k' (week 9 / 25.05.2022)
Fig 4.11 deconstruction, Futura letter 'm' (week 9 / 25.05.2022)
Followed by the deconstruction process, I start to digitalise my letterforms. At the very first, I used 'Futura STD' as a reference to create the guidelines (take the black square as a 500x500 px guide on x-height).
Fig 4.12 create guidelines (week 9 / 27.05.2022)
Fig 4.13 guidelines (week 9 / 27.05.2022)
As Mr. Vinod suggest to develop the letterform based on a letter 'O', so I tried several attempts to get the final selection of the letter 'o'.
Fig 4.14 development of letter 'o' (week 9 / 27.05.2022)
Fig 4.15 outline development, letter 'o' (week 9 / 27.05.2022)
After the development of letter 'o', I started the development of the selected letter : a e t k g r i y m p n ! # , .
#ATTEMPT 1
The development of letter 'g' :
Fig 4.16 development of letter 'g' (week 9 / 27.05.2022)
Fig 4.17 outline development, letter 'g' (week 9 / 27.05.2022)
The letter 'g' was constructed by two letter 'o' and some tools such as pen tool, shape builder tool and pathfinder.
The development of letter 'a' :
Fig 4.18 development of letter 'a' (week 9 / 27.05.2022)
Fig 4.19 outline development, letter 'a' (week 9 / 27.05.2022)
The letter 'a' was constructed on a basis of letter 'o' and the ears of letter 'g".
The development of letter 'e' :
Fig 4.20 development of letter 'e' (week 9 / 27.05.2022)
Fig 4.21 outline development, letter 'e' (week 9 / 27.05.2022)
The letter 'e' was constructed by two letter 'o' and some tools such as pen tool, shape builder tool and pathfinder. I also tried an attempt on using the letter 'a' to construct the letter.
The development of letter 'r' :
Fig 4.22 development of letter 'r' (week 9 / 27.05.2022)
Fig 4.23 outline development, letter 'r' (week 9 / 27.05.2022)
The letter 'r' was constructed by two letter 'o', and the tail or letter 'a'.
The development of letter 'i' :
Fig 4.24 development of letter 'i' (week 9 / 27.05.2022)
Fig 4.25 outline development, letter 'i' (week 9 / 27.05.2022)
The letter 'g' was constructed by the letter 'r' and a circular shape.
The development of letter 'i' :
Fig 4.26 development of letter 'k' (week 9 / 27.05.2022)
Fig 4.27 outline development, letter 'k' (week 9 / 27.05.2022)
The letter 'k' was constructed by the basis of letter 'I'.
The development of letter 't' :
Fig 4.28 development of letter 't' (week 9 / 27.05.2022)
Fig 4.29 outline development, letter 't' (week 9 / 27.05.2022)
The letter 't' was created on the basis of letter 'k'.
The development of letter 'y' :
Fig 4.30 development of letter 'y' (week 9 / 27.05.2022)
Fig 4.31 outline development, letter 'y' (week 9 / 27.05.2022)
On the basis of letter 'g' and 'o' , I create the letter 'y'.
The development of letter 'n' :
Fig 4.32 development of letter 'n' (week 9 / 27.05.2022)
Fig 4.33 outline development, letter 'n' (week 9 / 27.05.2022)
The letter 'n' was created by the combination of letter 'r', 'I', and 'o'.
The development of letter 'm' :
Fig 4.34 development of letter 'm' (week 9 / 27.05.2022)
Fig 4.35 outline development, letter 'm' (week 9 / 27.05.2022)
The letter 'm' was developed by the basis of letter 'n'.
The development of letter 'p' and other symbols :
Fig 4.36 development of letter 'p' and other symbols (week 9 /27.05.2022)
Fig 4.37 outline development, letter 'p' and other symbols (week 9 /27.05.2022)
After the #attempt 1 on constructing the letterform, I finalised the outcome of the attempt.
Fig 4.38 outcome of #attempt 1 (week 9 / 28.05.2022)
Fig 4.39 outline, outcome of #attempt 1 (week 9 / 28.05.2022)
Meanwhile, I believed that I could make some adjustments to make the letterforms more constructive, as some of the letterforms, such as 't' and 'k,' are seemed not considered as a part of the type family. So, I continued the adventures by #attempt 2.
#ATTEMPT 2
I do a screen rap of the entire letterform evolution (fig 4.40 & fig 4.41).
Fig 4.40 full development of letterform #attempt 2 (week 10 / 30.05.2022)
Fig 4.41 outline, full development of letterform #attempt 2 (week 10 / 30.05.2022)
Overall, my letterforms design #attempt 2 may be described as continually constructed because all of the letterforms are usually generated dependent on the other fonts within the constructed type family.
Fig 4.42 outcome #attempt 2 (week 10 / 30.05.2022)
Fig 4.43 outline, outcome #attempt 2 (week 10 / 30.05.2022)
I also compared the outcome between attempt #1(pink) and #2(red).
Fig 4.44 attempt #1 and #2 (week 10 / 30.05.2022)
Fig 4.45 differences on attempt #1 and #2 (week 10 / 30.05.2022)
In overall, attempt #2 was more constructive than attempt #1. There were additional parts that connected inside each other and had their own unique take on the letterforms, such as having the same descender, shoulder, and ear, indicating they performed as a family.
WEEK 10 / 01.06.2022
GENERAL FEEDBACK : Overall, fairly consistent except might need some minor adjustments.
SPECIFIC FEEDBACK :
1. The letter "y" and "r" might make some changes on pulling the space more on the link as there is too much blackness there.
2. The letter "e" seems weird, you need to use the O to circumference and create the letter.
3. The hashtag needs to grow bigger as it need to follow the caps height.
4. Take the article that shared in Facebook group as reference to reconstruct the punctuations.
Following Mr. Vinod's feedback, I developed the final improvements based on his suggestions.
Adjustment on letter 'e' :
Fig 4.46 adjustment on letter 'e' (week 10 / 01.06.2022)
Fig 4.47 outline, adjustment on letter 'e' (week 10 / 01.06.2022)
Adjustment on letter 'y', 'r', hashtag and others :
Top (before adjustment), bottom (after adjustment)
Fig 4.48 before and after the adjustment (week 10 / 01.06.2022)
Based on the article that introduced by Mr. Vinod, I make some adjustments on the punctuations.
Fig 4.49 screenshot of the particular post (week 10 / 01.06.2022)
#The important notes
- A round period (.) had slightly less overshoot than the O. Rectangular periods should sit directly on the baseline. A period should be large enough to indicate a pause in the text, but not interfere with the flow of reading.
- The comma (,) is roughly the heigh of two staked periods. The comma's head should be slightly smaller than the period. The downstroke terminal's angle could be related to the angle in the s.
- The example of stylistic options of comma.
Fig 4.50 stylistic options of comma (week 10 / 01.06.2022)
Take the knowledge as reference, I start my new attempt for the punctuation.
The development of period and comma #attempt 3 :
Fig 4.51 development of period and comma (week 10 / 01.06.2022)
Fig 4.52 outline development of period and comma (week 10 / 01.06.2022)
As I did not success in create a letter 's', so I tried on using the tail of 'g' as a reference to create the downstroke terminal for comma. Below are the differences between the outcome before and after the adjustments :
Fig 4.53 before and after adjustment (week 10 / 01.06.2022)
Fig 4.54 outline, before and after adjustment (week 10 / 01.06.2022)
FINAL OUTCOME OF DIGITALISATION
Fig 4.55 Final outcome of digitalisation (week 10 / 02.06.2022)
After I finished digitising the typeface, I started transferring the letterforms from Adobe Illustrator and pasting them as vector files into FontLab 7. Following Mr. Vinod's demonstration tutorial video (Typo Task 3A_ Illustrator to FontLab5 Demo and Typo Task 3A_ Illustrator to FontLab7 Demo), I started my FontLab 7 explorations.
Before importing the letter to FontLab, I measured the letter's unit measurement in AI using the rectangle shape.
Fig 4.56 unit measurement (week 10 / 02.06.2022)
Then, merge all the outline of the 'shape' together.
The upper (before merging), bottom (after merging) :
Fig 4.57 before and after the merging process (week 10 / 02.06.2022)
Fig 4.58 outline, before and after the merging process (week 10 / 02.06.2022)
I put a square backdrop with a pink background at the back to guarantee that the letter spacing is visible after merging.
Fig 4.59 outcome with pink background (week 10 / 02.06.2022)
Then, I create a new file in FontLab based on the instructions that given in the video recording [file > create a new font file] and edit the font info as well as preferences.
Fig 4.60 font info edit (week 10 / 03.06.2022)
Fig 4.61 edit preferences (week 10 / 03.06.2022)
Height measurement of letter
Ascender line : 728 pt
Cap height : 683 pt
Mean line : 500 pt
Baseline : 0 pt
Descender line : -230 pt
Drag the x and y coordinates from the corner of ruler to the glyph that intend to copy. Copy and paste on the FontLab, insert to the particular letter.
Fig 4.62 x and y coordinate, AI (week 10 / 03.06.2022)
Fig 4.63 import letter to Fontlab 7 (week 10 / 03.06.2022)
Fig 4.64 generating letter to FontLab 7 (week 10 / 03.06.2022)
After importing all of the letterforms into FontLab, I begin to make kerning modifications. At first, select [window > new metrics tab] and type all the letters in the metrics box.
Fig 4.65 before adjustment (week 10 / 05.06.2022)
I made some adjustments to the left and right bearings to make the distance between the letters the same.
Fig 4.66 bearing adjustment (week 10 / 05.06.2022)
Left bearing : 50 pt
Right bearing : 50 pt
Fig 4.67 bearing adjustment (week 10 / 05.06.2022)
Left bearing : 0 pt
Right bearing : 50 pt
Then, I did some minor adjustments on bearing and kerning.
The final bearing (average) used ;
Left : 40 pt
Right : 20 pt
Fig 4.68 before kerning (week 10 / 05.06.2022)
Fig 4.69 after kerning (week 10 / 05.06.2022)
After kerning the letter, I examined different phrases and words in the metrics box to see how my typeface was holding up.
Fig 4.70 typeface testing (week 10 / 05.06.2022)
After I've finished generating all of the letterforms in FontLab 7, I export and save them to my desktop. Then, the next stage will be to create a poster using Adobe Illustrator.
According to Mr. Vinod's guidelines, we musthad to construct an A4 poster and type out some sentences to demonstrate our letterforms. Meanwhile, there is a recommended sentence: "Make type great again!" In addition, we must include a credit line that provides our font name, author, and year. The credit line should be in Univers STD, Regular, 8 pt.
Then, I used the suggested sentence, "Make Type great again!" as a testing in Adobe illustration.
Fig 4.71 Pinary Testing (week 11 / 06.06.2022)
Instead of utilising the recommended sentence, I created some that I thought best expressed the spirit of the typeface. As I titled my typeface 'Pinary,' I typed some sentences within it.
Fig 4.72 Poster Idea exploration (week 11 / 06.06.2022)
Following the investigation of poster layout ideas, I decided that I preferred layouts #4 and #5, which had greater contrast on the text inside the poster. But, I added a period and a hashtag to reform the sentence, "make pinary, type pinary. #again!" The reason to choose this sentence instead, is the sentence had showcase all the 15 letterforms that created within this task. Furthermore, I tested the attempt on both a white and a black backdrop to see which one was best.
Fig 4.73 poster design, black vs. white background (week 11 / 06.06.2022)
In my idea of perspective, I imagined the type poster would be used as a reference poster when people install the font, thus a white backdrop could be more appropriate in this circumstance, giving more possibilities to the users.
Fig 4.74 outcome of poster, 'Pinary' (week 11 / 06.06.2022)
Details of font @ Pinary :
Caps Height : 683 pt
X-height : 500 pt
Ascender : 728 pt
Descender : -230 pt
U-position : -250 pt
Left Bearing : 40 pt
Right Bearing : 20 pt
WEEK 11
FEEDBACK : Good job. relatively consistent. Some minor issues with e, k and t. Other than that its good! Keep at it. Fig 4.76 best to keep it the small sentence centrally aligned.
After receiving the feedback from Mr. Vinod, I make some amendments on the letter e, k and t.
The upper (after adjustments), bottom (before adjustments) :
Fig 4.75 adjustment on letter e, k and t (week 12 / 15.06.2022)
Fig 4.76 after adjustment (week 12 / 15.06.2022)
After making the necessary changes to the letters, I presented them to Mr. Vinod during the class session for clarity and feedback.
WEEK 12 / 15.06.2022
FEEDBACK : More better than the previous!
Then I continued to make some amendments on the bearing, tracking in Fontlab 7.
Fig 4.77 amendments in Fontlab 7(week 12 / 16.06.2022)
Final Details of font @ Pinary :
Caps Height : 683 pt
X-height : 500 pt
Ascender : 728 pt
Descender : -230 pt
U-position : -250 pt
Left Bearing : 40 pt
Right Bearing : 10 pt
After re-generate the font from the Fontlab 7, I did the changes on the poster and aligned the credit text to the centre.
The left (before adjustments), right (after adjustments) :
Fig 4.78 adjustment on poster (week 12 / 16.06.2022)
FINAL OUTCOME OF TASK 3A
Link for generated font :
Fig 4.79 Final sketch, 'Pinary' (week 12 / 16.06.2022)
Final outcome of Pinary, Adobe Illustrator :
Fig 4.80 Final outcome, 'Pinary' - JPG (week 12 / 16.06.2022)
Final outcome of poster, font Pinary :
Fig 4.82 Final outcome of poster - PDF (week 12 / 16.06.2022)
FEEDBACK
WEEK 9 / 25.05.2022
#FONT SKETCH
GENERAL FEEDBACK : The sketch is almost like writing. There is no consistency in the stroke but there is consistency in the appearance.
SPECIFIC FEEDBACK : Develop your letter "O" and then develop the other letter based on the letter "o" form. Try to avoid on having a very long ascenders and descenders.
WEEK 10 / 01.06.2022
#FONT DIGITALIZE
GENERAL FEEDBACK : Overall, fairly consistent except might need some minor adjustments.
SPECIFIC FEEDBACK :
1. The letter "y" and "r" might make some changes on pulling the space more on the link as there is too much blackness there.
2. The letter "e" seems weird, you need to use the O to circumference and create the letter.
3. The hashtag needs to grow bigger as it need to follow the caps height.
WEEK 11
#SUBMISSION
FEEDBACK : Good job. relatively consistent. Some minor issues with e, k and t. Other than that its good! Keep at it. Fig 4.76 best to keep it the small sentence centrally aligned.
WEEK 12 / 15.06.2022
#REATTEMPT ON LETTER E, K AND T
FEEDBACK : More better than the previous!
REFLECTION
EXPERIENCE
Overall, the experience appears to be quite amazing and intriguing! Despite my reservations about digitising type typefaces, I was overjoyed with the final outcome. No words can explain my happiness and satisfaction upon designing my own typeface. This is due to the fact that type typefaces were established based on self-handwriting. So, during the process, I even tried out certain letters outside of the task to conduct some phrase and word construction, which cheered myself up! When I typed something to my friend using Pinary (the font creation) and my friend said, "It's you writing?," I felt satisfied that the days and nights I spent were worthwhile.
OBERVATIONS
Font development is enjoyable, but it requires a great deal of attention to detail. Fonts of various types can portray a variety of moods. Horror typefaces may display a frightening sentence, which may be more suited for a festival such as Halloween to depict the horror of an event or statement. A plain minimal typeface, on the other hand, might communicate a sense of tranquilly and blissful.
FINDINGS
Throughout the work, I realised that all fonts are classified as a family since they share commonalities, such as the same bold or shade. The letter 'O' may be regarded the main element in developing or creating a family typeface, which can be referred to as the origin. Furthermore, I discovered that the growth of all letter shapes is interrelated, since it may be formed from a combination of different letters, such as o forming a, a generating g.
FURTHER READING
1. Practical Responsive Typography (2016)
Fig 5.1 Practical Responsive Typography (2016)
Type of source : e-book
Name : Practical Responsive Typography
Author : Calonaci, Dario
Year of publication : 2016
- Anatomy of the character (p.2-4)
Knowing the terminology and structure of a letter can make us to be a better writer and more importantly, a better reader.
TERMINOLOGY AND STRUCTURE
The following points are the real foundation of writing, what lies beneath the splendid coherent surface of a text:
Fig 5.2 terminology and structure of letter
- Apexes are the points at the top of a character where the left and right strokes meet.
- Arms and legs are short strokes that extend from the main body, in all directions. The arms point upwards while legs are attached to the bottom, both of them are present on a lowercase k.
- Ascenders are truly important to the text and are segments that extend past the lowercase character x-height. They are clearly visible in b, d, f, h, k, l, and t.
- Bars are segments connecting the left and right portion of a character. A, H, R, and f have them and they rarely extend past the body.
- The baseline is the line where the character stands, and as an optical correction letter curves often extend pas it, to visually balance the height.
- Bowls are curved strokes that define a space within the body.
- Cap height addresses the measure of capitals, from baseline to top. Its better
- to measure them starting from a very flat bottom.
- Counters are the sections of space, semi or completely enclosed, within the body of the character.
- Descenders are the part of a character that descend below the baseline, as the g bowl for example.
- The ear is a small stroke visible on lowercase g, extending on the right of the bowl. They are not merely a decoration, they help with tracking and readability.
- Finials are curved ends, such as the ones in some lowercase e.
- Hairline is a section in the middle of some serif characters where the stroke is
- relatively thinner.
- Links are the little strokes that connect the top and bottom bowls of some fonts of g, such as Times New Roman.
- Loops are the bottom bowls of some font styles of g.
- Serifs are the endings, non-structural decoration present on some typefaces.
- Shoulders are the curved strokes that are attached to the stem.
- The spine is the main curved stroke of the S.
- The Spurs are small projections of the curve in capital G.
- Stems are the main, vertical, or diagonal strokes in a character; basically, the main foundation.
- Strokes, which we referred to previously, are nothing more than a curved or straight segment in a letter.
- Swashes are flourishes or decorations that sometimes replace serifs.
- Tails are descending strokes of R or Q.
- The terminals are the end of the stroke that is not terminating with a serif, such as the upper one of the small f.
- X-height is the main referred height in every typeface, especially for the lowercase x because of the flat bottom and upper area without ascenders or descenders.
- Expressing Different moods (p.13-15)
In the world of typography and type design, every curve conveys a different mood, it takes years of experience to understand those characteristics and the method to use them correctly. For example
SERIFS VS. SANS
Fig 5.3 Serifs vs. Sans
Serifs, through their decorations, their widths, and in and out of their every sub-family convey old and traditional serious feelings, even when more modern ones are used; they certainly convey a more formal appearance.
On the other hand, sans serif are aimed at a more modern and up-to-date world, conveying technological advancement, rationality, usually but not always, and less of a human feeling. They're more mechanical and colder than a serif, unless the author voluntarily designed them to be more friendly than the standard ones.
SCRIPTS VS. SCRIPTS
Fig 5.4 Scripts vs. Scripts
As said, they are of two types, and as the name suggests, the division is straightforward.
Vladimir is elegant, refined, upper class looking, and expresses feelings such as respect. Arizonia on the other hand is not completely informal but is still a schizophrenic mess of strokes and a conclusion less expression of feeling.
DISPLAY TYPEFACES
Fig 5.5 Chunkfive and Elega
Since they are different in aspect from each other and the fact that there is no general rule that surrounds and defines the Display family, they can express the whole range of emotions. They can go from apathy to depression, from a complete childish involvement and joy to some suited, scary seriousness business feeling.
Like every other typeface, more specifically here, every change in weight and style brings in a new sentiment to the table: use it in bold and your content will be strong, fierce; change it to a lighter italic and it will look like its moving, ready to exit from the page.
Every font communicates differently, on a conscious as well as on a subconscious level; even within the same typeface, it all comes down to what we are accustomed to. In the case of font colour, what a script does and feel in the European culture can drastically change if the same is used for advertising in the Asian market.
REFERENCE
Anthony, J. Goku | Font on Behance | Typography alphabet, Font graphic, Stencil font. Retrieved from https://www.pinterest.com/pin/25966135337853319/
Calonaci, D. (2016). Practical Responsive Typography. Packt Publishing
Fabio, B. offpaper Logo startup london manchester art type hiring brand agency branding fff typography clean illustrati… | Text logo design, Branding design logo, Logo design. Retrieved from https://www.pinterest.com/pin/4011087160247709/
Little Nook Studio | Desain grafis, Desain, Grafis. Retrieved from https://www.pinterest.com/pin/148900331418242808/
Matt, E. Free Download: Alcubierre Typeface | Webdesigner Depot | Hipster fonts, Nice handwriting, Print handwriting. Retrieved from https://www.pinterest.com/pin/29273466319812721/
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