Two reasons to design a typeface:
- To improve type legibility
- Type design is a form of artistic expression
Adrian Frutiger
- considered responsible for the development of typography to digital typography
- designed Univers and Frutiger typeface, etc
Frutiger Typeface
- originally made for the signage in Charles de Gaulle International Airport in France
- sans serif typeface
- designed in 1968
- purpose= to create a clean, distinctive, functional, and legible typeface that can be seen from up-close and afar
- limitations= the letterforms has to be recognizable in poor lighting conditions or when the reader is moving, so Adrian Frutiger experimented with unfocused letterforms to identify the most legible one
Matthew Carter
- created fonts that has to cover technical challenges (example: the font has to be legible when the size is small on a device's screen)
- created Verdana (for Microsoft), and Georgia typeface, etc
- limitations= Verdana was made of pixels, making the letters "i, j, l" hard to identify
- Bell Centennial typeface was created when Matthew Carter was assigned by a company to create a typeface that will be used in the company's telephone directories because it would look blur after printing (example: the strange shape on capital "B" is called an ink trap because the extra ink that flows due to the paper and fast printing covers the ink traps making it look normal)
Edward Johnston
- created London "Underground" typeface, known ad Johnston Sans (1916)
- Johnston Sans was created because Edward Johnston was asked to create a typeface with "bold simplicity" that is modern but comes from tradition. It is a combination of classical Roman proportions with humanist warmth
- purpose= London's Underground railway wanted a new typeface for all posters and signage
- limitations= Johnston had to unite all the different typefaces used in London Underground group
- Johnston typeface has elegance and simplicity that fits the modern era
Eric Gill
- created Gill Sans
- Gill Sans success made Eric Gill feel guilty because it is heavily based on the "Underground" typeface by Edward Johnston
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Figure 1.1 typefaces created week 4
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General Process in Type Design
1. Research
- understand type history, type anatomy, and type conventions
- determine the purpose and the different applications it can be used in
- examine existing fonts for reference
2. Sketching
- some sketch with digital tools and some with hands, both methods have pros and cons
- sketching with hands= is slow but has time to actually consider and think about the design
- sketching digitally= is fast but it is slow when detecting hand movements of hand strokes
3. Digitization
- pay attention to the entire form and the counter form of the typeface because it affects the readability of the typeface
4. Testing
- a process of refining parts within a typeface to see whether it is legible or readable
- if its a display type, the expression of the typeface is more important
5. Deploy
- when a typeface is deployed, it may contain a few small mistakes that were not identified during testing
- the process of improving does not stop during this step, so the testing phase is important to avoid any big mistakes
Typeface Construction
- use grids with circular forms to construct the letterforms
- Roman Capital uses a grid that includes a square and inside it is a circle that fits the square. Within the square is a rectangle that is 3/4 the size of the square and positioned in the center of the square
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Figure 1.2 typeface construction week 4
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Construction Considerations
- there are a few elements of a form that can be used on other forms due to the similar design, so the work process is faster
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| Figure 1.3 typeface construction considerations (week 4) |
Visual Correction
- overshoots and curved forms are important visual corrections that must be taken into account, it also applies to vertical alignment for both curved and straight forms
- it is needed to determine the space between letters, because the letters must be distanced properly to create a uniformed visual white space
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| Figure 1.4 typeface visual correction (week 4) |
Perception in Typography
- deals with visual navigation and interpretation of the reader from the contrast, form, and organization of the content
Contrast
- to create distinction between information
Creating contrast in typography by Rudi Ruegg=
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Figure 2.5 contrast in typography by Rudi Ruegg (week 5)
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Carl Dair
- adds texture and direction to make the design and meaning more clear, ambiguous, and adds flair
7 Contrast by Carl Dair (mostly covered by Rudi Ruegg but uses different terms)=
1. Size
- to catch the reader's attention
2. Weight
- how bold type stand out from lighter type of the same style
3. Contrast of Form
- distinction between capital and lowercase, roman letter and its italic, condensed and expanded
4. Contrast of Structure
- uses different kinds of typefaces
5. Contrast of Texture
- uses different sizes, weights, forms, and structures by applying them to a block of text
6. Contrast of Color
- it is suggested that the second color is not as high-contrast as black on white
7. Contrast of Direction
- contrast between vertical horizontal and angles in between
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Figure 2.6 contrast by Carl Dair (week 5) |
Form
- creates most visual impact in a design
- overall look and feel of the elements in a typographic composition
- a good form will lead the eye from point to point, entertains the mind, memorable, intriguing
- typography came from the Greek words "typos" (form) and "graphis" (writing)
- typography is writing according to the right format
- two functions in typography=
1. to represent a concept
2. to represent it in a visual form
- displaying type as a form shows the letterforms unique characteristics and abstract presentation
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Figure 2.7 form(week 5) |
- the relationship between meaning and form creates a balanced harmony in both the function and expression- if a typeface is perceived as a form, it is no longer legible because of the manipulation created by distortion, texture, enlargement, and extruded into a space
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Figure 2.8 form poster examples(week 5)
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Organization
Gestalt= a German word that means "the way a thing has been placed or put together"
Gestalt Psychology is an attempt to understand the ability to maintain meaningful perceptions
Gestalt psychologist, Max Eertheimer developed "laws" (principles) that predicts how our brain organizes visual elements and groups them (Gestalt principles)
Gestalt Theory
= the entirety of something is greater than its parts, it is based on hoe we experience things as a whole.
Gestalt: Perceptual Groupings
1. Law of Similarity
= elements that are similar tend to be perceived as a group
2. Law of Proximity
= elements that are close together tend to be perceived as a group
3. Law of Closure
= how the mind see complete forms or figures even when it is incomplete
4. Law of Continuation
= humans tend to perceive two or more objects as a different and singular even if they intersect
5. Law of Symmetry
6. Law of Simplicity
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Figure 2.9 organization(week 5) |
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