OCA Graphic Design: Core Concepts 1 Assignment 4 - Show Me Jane Braybrook Jane511794
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1 OCA Graphic Design: Core Concepts 1 Assignment 4 - Show Me Jane Braybrook Jane Supporting Blog: Critical Evaluation I started this assignment thinking I needed to construct the whole alphabet rather than just the letters TYP and E, and after several days I realised the enormity of the task of designing a whole typeface and began to focus on the essential letters. I set out to create a font that incorporated a love heart, and started sketches of this in my sketchbook. I found my poor drawing skills prevented me from really exploring font design, so set about playing about in Illustrator on a more systematic way. I found the glyphs very difficult to design, I think because I was trying to design every part of each letter from scratch. When I downloaded and looked at the font design software, TypeTool, I noticed that the system always starts with a basic font that the designer can modify according to their own design. So I chose a font called Glamor as my starting point. This is a free font that I downloaded that comes with the designers express permission for modification. I took the letters I needed, made guides from the letters, created decorative serifs to a font already on my system. I added curves, widened and narrowed various parts in general took liberties with each letter. In the end the font looked nothing like what I started with, but I m not sure I designed it from scratch it sort of evolved. To improve my font design, I need to be more rigorous in Illustrator, or use a software tool designed for the job. I explored different layouts, including a Fibonacci sequence Golden Ratio and a more traditional 3 column design which was more successful. I explored using different fonts, including serif fonts for the headings and sans serif fonts for the sub headings and body text. I tried contrasting square terminations with rounded terminations I m not sure I m entirely comfortable with the result of this but have a useful record for the future. I created an article for a magazine about fonts and created some alternative layouts for the article, exploring different colour schemes for the background and different arrangements of the text, also different sizes of the text. I added images that were relevant to the article. My final design for this assignment evolved rather than was designed. I tried different layouts. The two page layout was not very flexible at all, there was too much text. The three page layout was more flexible, but I
2 had too much room for the article on Question Marks and not enough for Construction of a Font. I could have edited the text, moved the articles around or tried a four-page article, but I ran out of time and needed to move onto the next section. However, I do like my final design, it s an artistic, 1960 s feeling psychedelic theme that I d be happy to develop further. My family also like it best of all my designs.
3 issue 1 March 2015 BORED WITH YOUR FONTS? Is your font wardrobe looking dated? We take look at how you can make it more interesting. BUILD YOUR OWN FONTS! Simple tips to help you get creative with your font library. We show you how in 5 easy steps. WE ASK THE QUESTION: HAS THE QUESTION MARK HAD ITS DAY? Where did it come from? What s its future? Have you ever wondered? We reveal the past secrets of this iconic little symbol and see what the future has in store for it.
4 Graphic Design magazines regularly feature articles on fonts and typography. These days every Graphic Designer has an armoury of fonts at their fingertips. Currently there are over 200,000 fonts available, so the choice of font is getting harder not easier and the decision making process gets longer. The first choice a designer - or the client - has to make is whether to choose a font with or without serifs. In a serif typeface the letters have extra curls and bobbles, reminiscent of calligraphy, whereas in sans serif (literally without serif) the letter forms have clean lines without any protruding bits. Mi Minion Pro Some people find serif fonts easier to read, others claim they find sans serif easier. If the font is for a logo, then the serifs are decorative anyway, so readability does t really matter as much as the brand values the client is trying to achieve, but if the font is for a long passage of text then a serif font is more traditional. Sans serif were traditionally thought to be better for screen fonts, but these days Web Fonts are available that make virtually any font available for screens. Script fonts - those that look like handwriting - often commonly seen on wedding invites and menus. They can be difficult to read. When the film Avatar was released, many fans complained that the Papyrus font - sort of a decorative script - used for the subtitles was inappropriate because it was too difficult to read at speed, though it has a magical, hippy feel to it that otherwise is perfectly suited to the genre of the film. These days, more and more blue chip corporates are investing in designing their own in-house fonts. Some - like Barclays - claim this is for security reasons as it makes forgery a bit more difficult. Recently the Foreign and Commonwealth Office spent 80,000 changing its typeface to one that was almost identical, which makes one wonder that they don t have more important things to spend their money on that people might actually notice. Im Impact In Nottingham in 2005 the council spent 180,000 changing the Robin Hood logo, with a serif font for Nottingham, to The Big N, a red letter N in a Futura Bold type font. This was done to symbolise the future of
5 How is a typeface constructed? Before the invention of letterpress, all typography was hand created. The manuscripts created by monks in the monasteries show the amazing talent and dedication of the scribes. Today these manuscripts are kept in darkened rooms in museums, but some computer fonts are designed to look like this ancient calligraphy should a designer have a requirement to emulate this style. A recent billboard in Nottingham was done in this way to advertise a banquet being held in an old hall and looked really effective (unfortunately when I went back with camera the next week it had gone). The glyphs are constructed of a variety of shapes, though each letter clearly has many components the same whatever font it belongs too. When I constructed my own font, I started by deconstructing the letters that I needed into their component parts - above is the letter Y deconstructed. Nottingham. However, Nottingham residents were most definitely not impressed with this new Nottingham branding and the red letter N quickly and quietly disappeared. Co Co Headline Bold Modern typefaces have the benefit of being designed by typographers using powerful computers, which makes the job easier so the designer can spend more time creating a whole family of fonts. However, the terminology surrounding fonts and typefaces still refers back to historical times when fonts were created from individual pieces of metal. Each of these component parts has a name and characteristics, which together gives a description of the font and typeface. These descriptions can be stored in a database, so that designers can readily identify fonts when needed, and with over 200,000 different ones available at the present time, resources such as Identifont are essential these days. A new font or typeface can be created by taking these component parts and modifying them in a defined way, for example, by adding embellishments to the serifs, as I have done, or curving the terminations in a new way, or by making the descenders and ascenders a different height. Changing the characteristics of the glyph is not the only way a new font is created; the designer also has to consider the spacing between the letters on the page. A designer may be creative by making a font extra wide, but if the kerning and leading are not adjusted accordingly, the letters will sit awkwardly on the page and look ugly. To create a truly stunning typeface, the typographer needs to look at many letter combinations, which is why constructing a new typeface can take an experienced team many months or even years.
6 Im Impact Ar Bauhaus 93 Arial Rounded MT Bold Gl Glamour Ed Edwardian Script ITC Bu Busorama MD BT Question Marks As well as the letters of the alphabet, typographers need to also design a whole host of other glyphs, such as question marks, exclamation marks, numbers, apostrophes, quotation marks, mathematical notation, full stops and other punctuation, as well as hashtags, currency and asterisks - to name but a few. The typographer also needs to consider cultural aspects of the font. For example, the question mark has been evolving since the 8th century and now has different formats in different languages - in Spanish an interrogation starts with an upside down question mark and ends with the one that were familiar with in the UK. Ro Rockwell Extra Bold De Ba Baskerville desdemona He Helvetica Ro Rockwell en Engrav Ba Bauhaus 93 Ha Harrington My Myriad Pro Semibold Mi Minion Pro
OCA Graphic Design: Core Concepts 1 Assignment 5 - Penguin Books Jane Braybrook Jane511794
OCA Graphic Design: Core Concepts 1 Assignment 5 - Penguin Books Jane Braybrook Jane511794 Supporting Blog Post: https://jane511794.wordpress.com/category/assignments/assignment-5/ Critical Evaluation
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