1/7/2024 - 22/7/2024 (Week 11 - Week 14)
Shawn Wong Kai Hen / 0375372
Advanced Typography / Bachelor of Design (Hons) in Creative Media
Task 3: Type Exploration and Application
INSTRUCTIONS
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Task 3: Type Exploration and Application
INSTRUCTIONS
Comes to the final task for our final project. I have
research for 3 ideas which 1 is about designing a new typeface
for shops sign and idea 2 and 3 is complete the typeface from
movie series. After getting review from Mr. Vinod and i
finalized my idea to create a new typeface for shop sign which
is idea 1.
Fig 1.1 Proposal Slide, Week 8 (13/6/24)
Research Reference
Before starting to sketch the ideation, I decided to
conduct some research for reference. I explored old shop
signs to study similar fonts and learn about their origins.
During an online meeting with Mr. Vinod, he provided
feedback and suggested that I could also explore the old
shop signs around my neighborhood for additional reference
and inspiration.
After gathering various references, I decided
to create a new typeface using strokes from
Chinese characters. This decision was
influenced by my findings, as many of the
references were related to old Chinese
restaurant signs and eating places. By
incorporating these elements, I aim to design
a typeface that captures the essence of these
traditional signs.
Fig 1.2 Reference, Week 9 (17/6/24)
I specifically took inspiration from the architecture of
that era, as depicted in the image above. The angles and
structures of the buildings greatly influenced my design
process and assisted me in creating a new typeface. By
integrating these architectural elements, I aimed to
infuse my typeface design with a sense of historical
context and visual appeal.
Rough Digitalize Sketch
I have begun the ideation process by creating initial
sketches of the uppercase letters in Adobe Illustrator to
generate ideas and refine the design.
Fig 1.3 Attempt 1 - Rough Sketch, Week 9
(19/6/24)
I have begun sketching out initial ideas since I have
not yet finalized the design direction for this font.
After setting up a simple grid for placement, I
referred back to my references to guide my sketches,
experimenting with different weights and curves. The
strokes in Chinese characters are notably irregular,
so my sketches reflect this by varying the weight of
the strokes.
As shown in the image above, my guidelines are
currently incorrect. This is just a preliminary setup,
and I have not yet established the x-height, ascender,
descender, and other typographic metrics.
Fig 1.4 Anatomy of a Typeface, Week 10
(24/6/24)
Progression
Initially, my Illustrator workspace
lacked proper setup, resulting in errors.
Some letters in my latest design were not
fully refined. My early workspace was
quite cluttered, but I have since removed
unnecessary elements. During a Zoom review
session with Mr. Vinod, I learned that my
settings were incorrect, causing my design
to appear differently than intended. As a
result, I decided to create a new
Illustrator file and start over. This
process took some time, but it was
necessary to achieve the correct design
and layout.
Fig 1.5 Illustrator workspace, Week
10 (26/6/24)
First, I set up the guidelines using baseline,
x-height, cap height, ascender, and descender lines
to ensure the letter heights were accurate. With
these guidelines in place, it became easier to
create the typeface design, allowing me to
reorganize and adjust my uppercase and lowercase
letters accordingly. This process was challenging as
I had not previously learned these principles,
requiring me to redo everything to ensure the
letters were correct.
Fig 1.6 Setup guideline, Week 10 (26/6/24)
After establishing the guidelines, I
proceeded to design the remaining letters.
Based on Fig 1.5, I identified several
letters that did not meet my quality
standards. Consequently, I decided to
refine and redesign them to improve their
appearance. The image below illustrates
the transformation of the letters from the
previous version to the latest, showcasing
the enhancements made.
Fig 1.7 Letter transforms, Week 10
(26/6/24)
It took me a few days to
finalize the design of the
uppercase letters. The result is
a set of letters that not only
look significantly better but
also maintain a consistent
weight and style with the other
characters.
Fig 1.8 Attempt 2, Week 10 (26/6/24)
After completing the uppercase letters, it took me
a few days to finalize the design. Following
feedback from Mr. Vinod, he noted that the latest
design showed inconsistencies in stroke weight among
the letters, although the overall design was
satisfactory. Taking his feedback into account, I
promptly addressed the inconsistencies and refined
the design. As a result, the final design now
features uniform stroke weights, with all letters
appearing cohesive and clean.
Fig 1.9 Attempt 3, Week 12 (10/7/24)
After a week of multiple adjustments, I finally
completed the design, adhering to the guidelines and
setting the compound paths to ensure all letters
were ready for export to Font Lab. In addition to
the uppercase letters, I also designed numerals and
punctuation marks to complement the typeface. Since
Mr. Vinod did not provide any further feedback on
the final iteration, the process proceeded smoothly.
Mr. Vinod advised us to move on to Font Lab to
adjust the kerning and bearing of the font.
Font Lab
Before importing the letters into FontLab, we need to set
up our guidelines in FontLab to match those established in
Illustrator. During the import process, I encountered
several challenges since I had not used FontLab before. To
overcome these issues, I relied on YouTube tutorials and
sought assistance from friends. Fortunately, I successfully
imported all the letters into FontLab.
Fig 2.1 Setting Up font lab, Week 12 (11 - 13/7/24)
Fig 2.2 Font Lab Workspace, Week 12 (11 - 13/7/24)
I watched and learned how to use FontLab from YouTube
tutorials, following the instructions carefully. I adjusted
the spacing for all the letters, setting most of the gaps to
30 units based on my own adjustments.
Final Outcome
Try out the typeface here! >.<
Download the Lunar Block Font here!
Final Font Presentations
Fig. 3.1 Font Presentation 01 - JPEG, Week 13 (14-17/7/24)
Fig. 3.2 Font Presentation 02 - JPEG, Week 13 (14-17/7/24)
Fig. 3.3 Font Presentation 03 - JPEG, Week 13 (14-17/7/24)
Fig. 3.4 Font Presentation 04 - JPEG, Week 13 (14-17/7/24)
Fig. 3.5 Font Presentation 05 -
JPEG, Week 13 (14-17/7/24)
Final Font Applications
Fig. 4.1 "Bai He Hainam
Restaurant: - JPEG, Week 13 (18-20/7/24)
Bai He Hainam Restaurant
(百合海南茶室) blends elegance
with cultural significance for a
memorable dining experience.
"Bai He" (百合) translates to
"lily" and symbolizes purity and
harmony, often used to wish
newlyweds a long, happy
marriage. "Hainam" references
Hainan, known for its delicious
cuisine, particularly Hainanese
chicken rice, emphasizing our
menu's authenticity. "Cha Shi"
(茶室) means "tea room,"
indicating a cozy spot for
enjoying fine teas.
The signage will feature a
clean, elegant typeface with
modern and traditional Chinese
elements, a color palette of
rich reds, golds, and warm
neutrals, and subtle lily
motifs. The layout will be
balanced, with "Bai He Hainam
Restaurant" and "百合海南茶室"
prominently displayed, conveying
cultural richness and culinary
promise.
Applications
Fig. 4.2 Signage 1, 1024px * 1024px -
JPEG, Week 13 (18-20/7/24)
Fig. 4.3 Signage 2, 1024px * 1024px -
JPEG, Week 13 (18-20/7/24)
Fig. 4.4 Menu, 1024px * 1024px -
JPEG, Week 13 (18-20/7/24)
Fig. 4.5 Coaster 1, 1024px * 1024px -
JPEG, Week 13 (18-20/7/24)
Fig. 4.6 Coaster 2, 1024px * 1024px
- JPEG, Week 13 (18-20/7/24)
Fig. 4.7 Paper Bag, 1024px * 1024px
- JPEG, Week 13 (18-20/7/24)
Fig. 4.8 Cup, 1024px * 1024px -
JPEG, Week 13 (18-20/7/24)
Fig. 4.9 Final Task 3A: Font
Presentations - PDF, Week 13 (18/7/24)
Fig. 4.10 Final Task 3B: Font
Applications - PDF, Week 13 (20/7/24)
After gathering various references, I decided to create a new typeface using strokes from Chinese characters. This decision was influenced by my findings, as many of the references were related to old Chinese restaurant signs and eating places. By incorporating these elements, I aim to design a typeface that captures the essence of these traditional signs.
I have begun sketching out initial ideas since I have not yet finalized the design direction for this font. After setting up a simple grid for placement, I referred back to my references to guide my sketches, experimenting with different weights and curves. The strokes in Chinese characters are notably irregular, so my sketches reflect this by varying the weight of the strokes.
As shown in the image above, my guidelines are currently incorrect. This is just a preliminary setup, and I have not yet established the x-height, ascender, descender, and other typographic metrics.
Initially, my Illustrator workspace lacked proper setup, resulting in errors. Some letters in my latest design were not fully refined. My early workspace was quite cluttered, but I have since removed unnecessary elements. During a Zoom review session with Mr. Vinod, I learned that my settings were incorrect, causing my design to appear differently than intended. As a result, I decided to create a new Illustrator file and start over. This process took some time, but it was necessary to achieve the correct design and layout.
After establishing the guidelines, I proceeded to design the remaining letters. Based on Fig 1.5, I identified several letters that did not meet my quality standards. Consequently, I decided to refine and redesign them to improve their appearance. The image below illustrates the transformation of the letters from the previous version to the latest, showcasing the enhancements made.
It took me a few days to finalize the design of the uppercase letters. The result is a set of letters that not only look significantly better but also maintain a consistent weight and style with the other characters.
After a week of multiple adjustments, I finally completed the design, adhering to the guidelines and setting the compound paths to ensure all letters were ready for export to Font Lab. In addition to the uppercase letters, I also designed numerals and punctuation marks to complement the typeface. Since Mr. Vinod did not provide any further feedback on the final iteration, the process proceeded smoothly. Mr. Vinod advised us to move on to Font Lab to adjust the kerning and bearing of the font.
Bai He Hainam Restaurant (百合海南茶室) blends elegance with cultural significance for a memorable dining experience. "Bai He" (百合) translates to "lily" and symbolizes purity and harmony, often used to wish newlyweds a long, happy marriage. "Hainam" references Hainan, known for its delicious cuisine, particularly Hainanese chicken rice, emphasizing our menu's authenticity. "Cha Shi" (茶室) means "tea room," indicating a cozy spot for enjoying fine teas.
The signage will feature a clean, elegant typeface with modern and traditional Chinese elements, a color palette of rich reds, golds, and warm neutrals, and subtle lily motifs. The layout will be balanced, with "Bai He Hainam Restaurant" and "百合海南茶室" prominently displayed, conveying cultural richness and culinary promise.
FEEDBACK
Week 9
- No Feedback given.
Week 10
Specific
- No Feedback given.
Specific
-
Good job, continue your work.
Week 11
General
-
Use a grid to ensure consistency in weight (stroke
thickness).
-
Generally, the thickness of curved letters is not
consistent from top to bottom, so is as thick as other
letters in the mid-section only (optically will appear
equal).
-
When designing punctuations, there’s generally no need
to put a lot of the style of the letterforms. as it will
cause difficulty in reading.
Specific
-
The letters design is not same the weight.
-
The gridline setting wrong and no follow inturstion
and need to change it
Week 12
General
-
In application, make sure the visual doesn’t overpower the
type as it’s the typeface that’s being showcased.
-
The more counter space your type has, the more you need to
make up for that space in design application.
-
Clean up excessive nodes using the smooth tool on
Illustrator before exporting to Font Lab.
- Use a grid to ensure consistency in weight (stroke thickness).
- Generally, the thickness of curved letters is not consistent from top to bottom, so is as thick as other letters in the mid-section only (optically will appear equal).
- When designing punctuations, there’s generally no need to put a lot of the style of the letterforms. as it will cause difficulty in reading.
- The letters design is not same the weight.
- The gridline setting wrong and no follow inturstion and need to change it
- In application, make sure the visual doesn’t overpower the type as it’s the typeface that’s being showcased.
- The more counter space your type has, the more you need to make up for that space in design application.
- Clean up excessive nodes using the smooth tool on Illustrator before exporting to Font Lab.
Specific
-
Need to adjust the kerning for the letters.
-
Specially letters j, t, f, v and some letters with round
and curve design. This may affect some letters type out
problem if not done the adjustment.
Week 13
General
-
Final Compilation & Reflection. Complete and submit the e-portfolio for Task 3
and prepare the final compilation and reflection.
General
-
Final Compilation & Reflection. Complete and submit the e-portfolio for Task 3 and prepare the final compilation and reflection.
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