Design_FONT_alphabet

Design_FONT_alphabet Choose one typeface to use as your template. Choose a font that has “good bones”. IE: structure for each character and has a rhythm that is consistent. Taking this font as your base from which to work from, begin to modify, transform and design a new version and or original. How to begin: Choose one typeface to work with. LOOKING AT WORDS As Matthew Carter is oft-quoted: "Type is a beautiful group of letters, not a group of beautiful letters". With this in mind, aim to start looking at your design from a line and paragraph level as early as possible. Once you've created a few characters, you can enter them into Adhesion Text, an online tool that uses a simple dictionary look-up to provide you with the words you can make so far. [login to view URL] Create a simple InDesign document with some text frames and paste these words into them. Set each text frame to a different font size for comparison (the sizes will depend on what your typeface is to be used for). Finally, export your typeface and select it within your document to see it in action. Tip: Font management programs such as Font Book, FontExplorer can help activate your fonts for use with InDesign. On a Mac, exporting your typeface straight into /Library/Application Support/Adobe/Fonts/ means that you can hit the export button and flick between the programs to instantly see the effect on a paragraph and line level (the only works inside Adobe products). To think about> Let the characters inspire you. Work with the original structure. Choose several typefaces that you personally resonate with. Each one has to be distinctly different from each other. IT’S NOT JUST A-Z Your typeface might comprise of a limited set of characters because it's for a particular project, personal use or if it's a very decorative design. However, if your aim is for it to be used by other designers, for a variety of projects, then it needs to be flexible and have a broad character set. This would generally include small capitals, diacritic signs (accents), and a choice of numerals, ligatures and more. STYLES, WEIGHT, AND WIDTHS A good breadth of weights can often negate that small detail you spent days laboring over. When a designer is choosing a particular typeface, she/he is likely going to need a palette of options to design with. Does your typeface have a true italic, not just a slanted roman? Would your typeface suit a condensed version? This goes back to your brief and usage for your typeface. See Lucas de Groot’s TheSans for an example of a font family. [login to view URL] PUT IT TO THE TEST You are going to design a poster representing your new typeface. The details will be in a separate brief. RESOURCES: SOFTWARE: Glyphs: [login to view URL] Glyphs Mini: [login to view URL] Robo Font: [login to view URL] PC & Mac Font Lab: [login to view URL] Fontographer: [login to view URL] Type Tool: [login to view URL] JOURNALS/web [login to view URL] [login to view URL] [login to view URL] [login to view URL] [login to view URL] I LOVE TYPOGRAPHY [login to view URL] [login to view URL] [login to view URL] part-1/ [login to view URL] font-part-2/ Typography II _ CSUDH_SPRING 2018 [login to view URL]