Advanced Typography Task 3 / Type Exploration and Application
28.9.2022 - 23.11.2022 (Week 8 - Week 13)
Takuto Hozumi / 0354047 / Bachelor Of Design (Hons) In Creative Media
Advanced Typography
Task 3 / Type Exploration and Application
LECTURES
All lectures 1 to 5 were completed in Task 1.
INSTRUCTION
Task 2 (A) / Key Artwork
Project Outline
With the knowledge and experience gained in the exercises and tasks, with the accumulated knowledge from the lectures and your own reading (library books and online sources), with the experience gained in the different software covered in the program thus far, synthesize and apply the learning in the tasks to be mentioned. Allow the knowledge gained to guide and inform your decisions for the effective execution of your final task.
Option 1
Create a font that is intended to solve a larger problem or meant to be part of a solution in the area of your interest be it graphic design, animation, new media or entertainment design, or any other related area not necessarily reflecting your specialization. End result: a complete typeface generated (.ttf) + applications.
Option 2
Explore the use of a typeface in your area of interest, understand its existing relationship, identify areas that could be improved upon, and explore possible solutions or combinations that may add value to the existing typeface. End result: a complete typeface generated (.ttf) + applications.
Option 3
Experiment. For your idea to qualify as an experiment it must be novel and unique - working with material that might be 3-dimensional, digitally augmented, edible, unusual, typographic music video, or fine art. End result: defined by the student.
To be effective you will need to study your selected area, look at how type is used in the area, and identify potential weaknesses or possible areas of further exploration or experimentation. You can then attempt to provide a creative solution or add value to
an existing use.
The end outcome could be a designed font and its application in the form or format that it is intending to provide a solution for, a designed font that adds value to an existing use, or an experimentative output that results in something novel and unique. The work can manifest into any kind of format related to the issue being solved or explored or experimented: animation, 3d, print, ambient, projection, movie title or game title, music video, use of different material, etc.
In the above, I selected option 3.
Process of Work
First, to determine the theme for this production, I came up with four ideas.
Fig.1-1: Proposal Slides for W9 Presentation (26/10/2022)
Ideas #1 and 4 design all letters from existing logo styles, whereas #2 and 3 are challenges to creating letters that do not exist in reality.
All ideas are intended to be used in subcultures such as anime and games.
Feedback for each proposal idea is as follows;
#1 This idea is simply to re-work from the letters of the logo to make a complete version of typeface. (No specific suggestions)
#2 First, need to analyze what tools were used to create these letters. This is because the stylus is very distinctive in the shape of these letters. There is nothing in the reference image to suggest that. If I'm going to do this, need to determine which tool was used to create the typeface.
#3 This idea is easier for the assignment than #2 because it appears more uniform. But either will work. Create uppercase letters, symbols, numbers, etc. from A to Z of the alphabet, with unreadable lowercase letters.
#4 I may extract the form from the title and create a new typeface, but Mr. said more interested in the text represented in the background.
Based on these FB, I decided to proceed with #2 and 3.
2. Designing Process - Attempt 1 & 2
Following the style of the #2 letter, we attempted to create an existing alphabet.
Fig.1-2: Extracted Patterns
Patterns were taken from the letters and reconstructed.
Fig.1-3: Reconstructed Samples A~E
Fig.1-4: Process presented in W10 (2/11/2022)
For all the letters I have prepared, the lecture pointed the design was not appropriate. Specifically, the strokes are random and I have no idea what tool (brush, pen type, etc.) the letters were written with. If a font is to be created, the flow of strokes must always be consistent, even if they are fictitious characters.
So I need to re-examine the tool in Attempt 3 later.
2. Designing Process - Attempt 2
Presented at the same time as Attempt 1, Attempt 2 was to extract strokes.
Fig.1-5: Strokes
No matter what style of font, the letter A is recognizable because the base stroke form has been established.
Fig.1-6: Extraction Examples
Similarly, I thought it would be possible to extract strokes, even from fictitious fonts, and apply them to another style.
Fig.1-7: Extracted Strokes and Applied in Serif Style in W10 (2/11/2022)
The strokes were extracted from the original character (fictional font) and the original shape as a character was extracted. Feedback on this idea raised questions about the inevitability of being in serif form.
This is a character that does not exist in reality. However, the lecturer's advice made me think about the fundamental idea of typography, which is "writing begins with the hand, and the design of the strokes refers to the writing instrument".
Therefore, for the next Attempt 3, the design was to be greatly improved based on the reflections of Attempts 1 & 2.
3. Designing Process - Attempt 3
The first step is to select a writing instrument.
Fig.1-8: Examples of pens I prepared
I prepared several fountain pens and calligraphy pens of different widths and drew strokes as idea sketches.
Fig.1-9: Awkward strokes
Fig.1-10: Sketch in Progress
By the way, I had decided to create a monospaced design. I was thinking of creating a monospaced font because I envisioned this font being used in anime and video games to create an atmosphere. In this case, it would be difficult to use if the width changes for each character.
Once the design direction was set, I decided to produce a more organized shape digitally from here.
Fig.1-11: Process presented in W11 (9/11/2022)
Fig.1-12: Process presented in W12 (16/11/2022)
Specific improvement ideas;
Overall the style is cohesive, but some of the letters are a bit small; based on the reference posted on the SNS, the letter ", ,, . , :, ;" and other letters should be adjusted to be larger. Also, @ can be made smaller in content. Like the % circle, it can be adjusted along with the internal margins. Also, the empty space in the middle of 4 is small, and can be adjusted as well.
Fig.1-13: Fixed Some Letters after FB (17/11/2022)
As you can see from the image above, I think it has improved readability.
4. Font data conversion (.ttf)
Remove excess anchor points and import them into FontLab. I named this font "Magical Block Mono".
Fig.1-14: FontLab (17/11/2022)
Fig.1-15: Final Font Design (17/11/2022)
Font Download (.ttf)
Then I tried to set up a font tester as I did in Typography class in Sem1.
It has been placed in the Final Outcome section below.
5. Examples of this font used in game and animation media
Now that the font design has been finalized, I finally present in this section the rationale for why this font was designed and when it is intended to be used.
Fig.1-16: Examples of Cited images for Application
Fig.1-17: Composition
Fig.1-18: Graphical Effect
Fig.1-19: Switching between Upper and Lower Case Letters
The following 5 items are application images created for this project;
- Key Visual of an Anime (Fig.1-20)
- Rune Effects in a Fantasy Games (Fig.1-21)
- Summoning Circle Design (Fig.1-22)
- Ancient Civilization Style Illustration (Fig.1-23)
- Fictional Futuristic Design (Fig.1-24)
Fig.1-20: For Key Visual of an Anime (22/11/2022)
Fig.1-21: Rune Effects in a Fantasy Games (22/11/2022)
Fig.1-22: Summoning Circle Design (22/11/2022)
Fig.1-23: Ancient Civilization Style Illustration (22/11/2022)
Fig.1-24: Fictional Futuristic Design (22/11/2022)
*著作権法第35条 Article 35 of the Copyright Act of the Constitution of Japan permits unauthorized citation of works for educational use by educators and students.
Final Outcome
JPEG
Fig.1-25: Final Font Design (22/11/2022)
Rationale
Inspired by the original font strokes of an animation, this font "Magical Block Mono" is versatile and can be used in designs for all kinds of fantasy creations. It can also be switched between upper and lower case for readable (actual alphabet) and illegible (fictional style), making it useful for websites, games, and other gimmicky installations.
Font Tester (18/11/2022)
Font Download (.ttf)
Application (Examples of Possible Uses)
Fig.1-26: For Key Visual of an Anime (22/11/2022)
Fig.1-27: Rune Effects in a Fantasy Games (22/11/2022)
Fig.1-28: Summoning Circle Design & Ancient Civilization Style Illustration (22/11/2022)
Fig.1-29: Fictional Futuristic Design (22/11/2022)
PDF
FEEDBACK
Week 9
General feedback: Students need to propose at least 3 ideas as indicated in the past lecture.
Specific feedback: Feedback for each proposal idea is as follows;#1 This idea is simply to re-work from the letters of the logo to make a complete version of typeface. (No specific suggestions)#2 First, need to analyze what tools were used to create these letters. This is because the stylus is very distinctive in the shape of these letters. There is nothing in the reference image to suggest that. If I'm going to do this, need to determine which tool was used to create the typeface.#3 This idea is easier for the assignment than #2 because it appears more uniform. But either will work. Create uppercase letters, symbols, numbers, etc. from A to Z of the alphabet, with unreadable lowercase letters.#4 I may extract the form from the title and create a new typeface, but Mr. said more interested in the text represented in the background.
Week 10
General feedback: When designing letters, we should think carefully about writing instruments.
Specific feedback: For all the letters I have prepared, the design is not appropriate. Specifically, the strokes are random and I have no idea what tool (brush, pen type, etc.) the letters were written with. If a font is to be created, the flow of strokes must always be consistent, even if they are fictitious characters. Re-examine the tool.
Week 11
General feedback: Proceed with production quickly. Also, update the feedback sheet as appropriate.
Specific feedback: It's better compared to last time. Samples of capital alphabets, fictitious alphabets (As an alternative to lowercase letters), numbers, and symbols that I recreated were checked and got permission to proceed in this direction.
Week 12
General feedback: 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.
Specific feedback: Overall the style is cohesive, but some of the letters are a bit small; based on the reference posted on the SNS, the letter ", ,, . , :, ;" and other letters should be adjusted to be larger. Also, @ can be made smaller in content. Like the % circle, it can be adjusted along with the internal margins. Also, the empty space in the middle of 4 is small, can be adjusted as well.
Week 13
General feedback: No Class
Specific feedback: No Class
REFLECTIONS
ExperiencesIn this task, we expanded on the font design we did in the previous semester to create a complete font file, including upper and lower case letters and even numbers and symbols. It was very interesting to try to research my area of interest and reflect it in the font design, but at the same time it was a challenge. The designs we are exposed to in our daily lives (including anime and games, which I have chosen as my theme for this project) are kind of professional quality, so while I was working on type designing, I sometimes felt disappointed with my own creations. Actually, I don't find the design itself hard. However, it was very painful when I couldn't decide on the direction of the work I was creating. In the end, after a lot of trial and error, I'm happy that I was able to produce something even that was not perfect, but was to a certain extent.
Observation
One of the most important things I learned this time was to look at my own work objectively. Sometimes people are so stubborn about what they create that they refuse to see its weaknesses. I had my design rejected once for this assignment and had to create it again from the beginning. As it turned out, that was a good thing and I believe it shows in the final results. Detailed design knowledge is important, but I think this experience is more important and fundamental to creativity.
Findings
In the specific study, I was able to learn more about the relationship between letter design and strokes, through this task. As we learned in the lecture from Typography (Sem1), letters have a history and have become the current style through changes in writing instruments, types of letter shapes, and their design styles. Even if the characters are fictitious, they must have this kind of persuasive power. I don't know if I expressed myself well in this challenge, but surely it helped me to understand typography.
FURTHER READING
Typographic Design: Form and Communication
Fig.2-1: Typographic Design: Form and Communication (2015)
This book is a comprehensive book about typography, starting with the history of typography and eventually explaining modern techniques on displays, website design, etc.
Samples of many typeface designs were presented by size in the second half, making it easy to refer to them when creating new designs. This was especially helpful in reconsidering the strokes in Attempt 3. Although this assignment focused on font design, there are also many examples of layouts, which I think are good for reference when creating posters and another typesetting.
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