Advanced Typography / Task 3 / Type Exploration and Application

22.05.2023 - 09.07.2023 (Week 08 - Week 14)

Jacquline Lim Xin Ying / 0351304
Bachelor of Design (Honours) in Creative Media / Advanced Typography
Task 3 / Type Exploration and Application

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RECAP

Fig.0 - Letters Anatomy

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INSTRUCTION

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Task 3 / Type Exploration and Application

Fig.1.1 - Final Project Proposal

Elaboration of Chosen Proposal:

The Totoro Font provides a flexible and visually attractive choice for different branding materials. Posters gain from their whimsical allure, effortlessly blending words with visuals. The art of packaging design is evolving to become more enchanting and evocative, effortlessly catching the eye amidst a sea of products on store shelves. Murals and signs make public places look fun and interesting. Moreover, the typography elevates the social media identity, instantly identifiable and easily shareable. In a nutshell, the Totoro Font enhances branding materials, captivating viewers and establishing a unified brand identity.

Fig.1.2 - Chibi Totoro

After proposing my ideas, Mr. Vinod agrees with my first idea and suggested me to start with the letter 'O' as all the characteristics I am pursuing is all based on Chibi Tototro (Fig.1.2) from My Neighbour Totoro, Ghibli Studio by Miyazaki Hayao.




[ Digitalization ]

Fig.2.1 - Progression #1 (Week 10, 7th Jun 2023)

I begin creating my letters by first establishing their foundational structure and spacing, with the exception of the letter 'O' which is depicted in Figures 2.4 and 2.5. To keep my lettering consistent, I measured the line width and spacing based on the chosen characteristics.  

Fig.2.2 - Construction of Letter 'O' (Week 10, 7th Jun 2023)

The letter "O" plays a significant role in it since it serves as the foundation for my whole typeface. To produce the thick and thin strokes, I used a 3:1 ratio. I made the decision to keep the thin stroke at the sides and bottom and only employ a 3 times broader stroke on the top to better illustrate the characteristics of Chibi Totoro. I kept the squarish form of the letter 'O' rather than giving it a completely rounded shape since I wanted to preserve the silhouette of Chibi Totoro.

Fig.2.3 - Refinement of Letter 'O' & Comparison (Week 10, 7th Jun 2023)

I made the top portion narrower than the bottom in order to further demonstrate the trait, mimicking Totoro's appearance. Of course, not all letterforms will fall under this criteria; I have to determine which are appropriate and which are not.

Fig.2.4 - Basic Structure of Uppercase Letters (Week 10, 10th Jun 2023)

After I finalise the letter 'O' and I then start constructing uppercase. The letters "K," "S," and "Q" appeared to be the most challenging for me to produce. Since I intended to design something original rather than copy any existing reference fonts on the market, I encountered various difficulties with each of them, leading me to produce several versions of each. The "K" is where the letters meet, and the "S" and "Q" are the curving portions and tails. Each of the letters had its own challenges to overcome.

Fig.2.5 - Basic Structure of Lower Letters (Week 11, 12th Jun 2023)

The letter 'k' and 's' were simple to overcome after I had finalised the uppercase letters of 'K' and 'S'. The letter 'j' and the letter 'q' were the trickiest to make in lowercase. Even though it was difficult, it wasn't as difficult as the uppercase letterforms. For the letter 'i' was the thickness of the dot while the letter 'q' was the tail.

Fig.2.6 - Uppercase Letters (Week 11, 13th Jun 2023)

As soon as I've finished refining the letterforms' structural details, I begin to curve and tweak each one individually.There won't be a straight line in any of the letters, which is another hallmark of my letterforms.

Fig.2.7 - Uppercase Letters Compilation (Week 11, 13th Jun 2023)

I created a simple poster with a couple of simple words to make sure my letterforms would work well together. Additionally, to make sure the spacing between each letters are appropriate ,nor length of .caps and tails are excessive.

Fig.2.8 - Lowercase Letters #1 (Week 11, 14th Jun 2023)

Fig.2.9 - Lowercase Letters #2 (Week 11, 15th Jun 2023)

The same as I did with uppercase letterforms, I curved and modified lowercase letters.

[ Punctuation ]

Fig.3.1 - At Sign (Week 11, 16th Jun 2023)

The difficulties of designing the At sign was having to design it on an a slanted angle, this cause me to restructure the way I design this symbol. I structured my letterface through a straight rigid structure, without any angles. Another difficulty was linking the tail to the 'a', without designing it with an angle, it cause a lot of negative space on one side making the symbol looks imbalance. 

Fig.3.2 - Ampersand (Week 11, 16th Jun 2023)

I studied the anatomy of the Ampersand before I began creating my design. The primary finding that I discovered was that the upper and lower sections lacked equilibrium, which posed a significant obstacle during the design process. 

Fig.3.3 - Hash-tag & Percent (Week 11, 16th Jun 2023)

When designing the font for Totoro, it was vital to bring out its playful essence while also focusing on legibility and functionality. I adjusted the sizes, line thickness, and gaps to make sure that the hashtags and percent signs are clear and easy to recognise in different situations, like poster, infographics, and printed materials.

Fig.3.4 - Question Mark (Week 11, 16th Jun 2023)

As I was developing my initial question mark (the incomplete one on the left), I had a subsequent concept for designing my ultimate question mark. When thinking about my reference font, the letter 'C' came to mind. I had the idea to add a tail to the 'C' and decided to experiment with it. To my pleasant surprise, the outcome was quite successful. 

Fig.3.5 - Curly Brackets (Week 11, 16th Jun 2023)

once completing the initial sketches,, I carefully tweaked the curves and line thickness to make sure the shapes look consistent and appealing. Achieving a harmonious blend where the brackets enhance the overall aesthetic of the font while still demonstrating the essence of Totoro was quite a task. However, I encountered even greater difficulty when it came to perfecting the pointing part. Such as  the desired sharpness and curvature of the pointed area (the circled portion in Figure 3.5).

Fig.3.7 - Slash, Round Brackets & Vertical Bar (Week 11, 17th Jun 2023)

In order to implement the guidelines I have set out I made everything thicker on top (yellow circle) and thinner at the bottom (purple circle).

[ Week 12 ]

Fig.4.1 - At Sign Adjustment (Week 12, 21th Jun 2023)

While the italic 'a' shown in Figure 3.1 resolved the issue of negative spacing, it also introduced a significant contrast to the overall typeface. To address this issue, Mr. Vinod recommended elevating the intersection of the bottom of letter 'a' to harmonise the distribution of empty areas. During the process of refining it, I discovered that the outer contour of the at symbol would benefit from a subtle square-like curvature. 

Fig.4.2 - 'S' and '5' Adjustment (Week 12, 21th Jun 2023)

As a way to demonstrate a sense of consistency and solidity, I have taken the initiative to redesign the letters 'S' and '5'. I recalibrate the upper and lower curves to raise the lower portion above the upper portion, maintaining a ratio of 1:2, similar to the construction of my initial numeral '5'. On top of that, this is to ensure that it adheres to the desired characteristics and creates a more seamless flow.

Fig.4.3 - '3' and '5' Comparison (Week 12, 21th Jun 2023)

I redesigned the number '5' to enhance its overall harmony and coherence with other numerals. I achieved this by giving it a more rectangular shape and incorporating a subtle tail at the end, as depicted in Figure 4.2 and Figure 4.3.

[ Fontlab 7 ]

Fig.5.1 - Kerning in Fontlab 7 (Week 14, 4th Jul 2023)

When it comes to kerning, I experimented with various arrangements of letters, symbols, and numbers to ensure optimal visual harmony. By employing the matrix grid and setting up a value of 45 for both the left and right bearings, I continue my design process. For the letters with tails like 'q' and 'j', I made a slight adjustment to the bearing by using a negative value to enhance the visual appeal for viewers, as depicted above. 

Fig.5.2 - Pangrams in Fontlab 7 (Week 14, 4th Jul 2023)

To ensure thorough verification, I conducted internet searches on pangram examples so that I could wrap up my typeface.

[ Application ]

Fig.6.1 - Movie Poster in Adobe Photoshop(Week 14, 4th Jul 2023)

• Select the area > Content Aware Fill
• Insert my font (Torofo)
• Add texture with blending mode / Filter gallery

Fig.6.2 - Menu Try Out In Adobe Photoshop (Week 14, 4th Jul 2023)

I found that my font is more suitable for title/subtitle instead of the content that is why making a menu fully with Torofo might not end up nice. Not having the options of bold and italic are also become one of the difficulty for me to finish the whole menu.

Fig.6.3 - Packaging Design for Bakery (Week 14, 4th Jul 2023)

For the purpose of gaining a greater awareness of my design fonts and explore their versatility and constraints, I have experimented with a variety of styles. It seems that Torofo doesn't quite align with the aesthetic Fig.6.3 going for here.

Final Task 3 / Type Exploration and Application

Fig.7.1 - Torofo in Font Book

Download Torofo here

[ Type Specimen ]

Fig.7.2 & Fig.7.3 - Cover Page & Information of Torofo

Fig.7.3 - Letter Showcase #1

Fig.7.4 - Letter Showcase #2

Fig.7.5 & Fig.7.6 - Letters Showcase #3 & #4

 

[ Application #1 / Poster ]
Nostalgic vs Modern

Fig.8.1 - 'My Neighbour Totoro' Movie Poster (Week 14, 6th Jul 2023)

Fig.8.2 - Mural (Week 14, 6th Jul 2023)

[ Application #2 / Product Design ]

Fig.8.3 - Bouché Sticker (Week 14, 6th Jul 2023)

Fig.8.4 & Fig.8.5 - Close-up Bouché Bottle & Comparison (Week 14, 6th Jul 2023)

[ Application #3 / Books Design / Printed Materials ]

Fig.8.6 - Cookbook Cover (Week 14, 6th Jul 2023)

Fig.8.7 & Fig.8.8- Brochure (Week 14, 6th Jul 2023)

Fig.8.9 - Artbook (Week 14, 6th Jul 2023)

Fig.8.10 - Final Task 3_Type Exploration and Application  PDF (Week 14, 9th Jul 2023)

Font Presentation ONLY: 

https://drive.google.com/file/d/1gkMb0geen6zGO2lA7D_JeSqgb7UNvse8/view?usp=drive_link

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FEEDBACK

Week 9

Task 3: Idea 1 -  worth to explore

              Idea 2 - since is a idea continue from semester 1, it should be done better

              Idea 3 - what is the special that make mine special about compare to the fat font on the market 

Week 10

General Feedback: Progression so far is fine, further development is to be expected.

Specific Feedback: Make it more optical instead of technical to enhance visual comfortability and disguise the curve by not just pulling the blue dots. Do not conduct uppercase and lowercase at once, it will somehow mess up the structure of the letterforms.

Week 11

Specific Feedback: My letterforms were well constructed and showcased their characteristic appropriately and wisely. The thickness of the top is not overused. I should start constructing my numbers and punctuations. Also, visualise how my application of my font would be. 

Week 12

General Feedback: Everything is good to go, I should start importing my letterforms to fontlab/fontforge and start compiling the final typeface presentation.

Specific Feedback: Updated letter 'Q' is prefered. letter 'S' and number '5' is better after adjustment. Punctuation '@' in slanted version is too contrast with my other letterforms while the connecting part of original one has to be modified by moving the terminal of the the letter 'a' in order to give enough space to create a smooth bridge.



Week 13 *No class

Week 14

Specific Feedback: Use pangrams to adjust the kerning

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REFLECTIONS

Experience

Designing a font inspired by Totoro has been an exciting and demanding adventure that has enabled me to explore the captivating realm of typography. As a design student specialising in typography, I have come to appreciate the delicate equilibrium between artistic expression and technical accuracy needed to create a typeface from the ground up. From carefully drawing each letter shape to carefully perfecting their sizes, curves, and gaps, every stage has required focused attention to small details and a thorough grasp of typography principles. During this journey, I've discovered a fresh admiration for how typography can convey feelings and establish the mood of a design. I've learned a lot from this experience, and it's made me appreciate the balance between creativity and structure. I'm really looking forward to using this typeface to add a bit of Totoro's playful and enchanting vibe to my future design work.

Observations

Designing a font influenced by Totoro has been a truly eye-opening and immersive journey as a student of typography. During my exploration, I noticed the delicate harmony between shape and purpose, where each line and bend adds to the overall personality of the font. I learned how crucial it is to pay close attention to every little detail, aiming to capture the magical essence of Totoro's world while making sure it's easy to read and understand. This experience taught me how to balance creativity with technical accuracy, and the importance of continuously improving and perfecting my work. Designing a typeface is like going on a journey where you discover how different design elements work together. I'm really thankful for the chance to explore the details of typography by using Totoro as my inspiration.

 

Findings

Designing a font influenced by Totoro has been a truly illuminating experience as a typography student. During my journey, I have developed a greater understanding of the delicate harmony between the visual appearance and practical purpose of typography. I've realised how crucial it is to pay close attention to every little detail, grasp the subtleties of letter shapes, and thoughtfully evaluate the overall visual balance of a font. Moreover, this project has emphasised the importance of conducting thorough research and analysis. I deeply explored the essence of Totoro in order to effectively capture its spirit within each character. The problems I had, like making sure my work is readable while adding fun stuff, have taught me the importance of trying different designs and getting feedback. In general, this experience has reminded me of my love for typography and the great creative potential it offers.

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FURTHER READINGS

Thinking with Type 
by Ellen Lupton

Fig.8.1 - Thinking with Type by Ellen Lupton

One of the standout qualities of "Thinking with Type" is Lupton's ability to make complex typographic concepts accessible to readers at various levels of expertise. She presents the material in a clear and engaging manner, striking a balance between theoretical discussions and practical applications. The book is structured in a logical progression, guiding readers from the basics of type anatomy to more advanced concepts such as grid systems, typographic hierarchy, and composition.

Fig.8.2 - Letters_Designing Typeface (pg.48)

Lupton's emphasis on experimentation and risk-taking has been particularly influential in my font design journey. "Thinking with Type" encourages students to challenge conventions, push boundaries, and explore unconventional typographic solutions. This mindset has empowered me to approach font design with a sense of curiosity and fearlessness, allowing me to experiment with different forms, structures, and embellishments that ultimately shape the unique personality of my font.

Fig.8.3 - Text_Kerning (pg.80)

One of the most valuable aspects of this book is its focus on the relationship between typography and meaning. Lupton emphasizes the importance of considering the message, audience, and context when making typographic choices. This consideration has greatly informed my font design process, as I strive to align the visual characteristics of my font with the intended tone, purpose, and target audience.