Typography - Task 3: Type Design & Communication

3/10/2023- 21/11/2023 || Week 6 - Week 13
Ruchira Nowreen || 0347111
Bachelor of Software Engineering || Minor: Creative Media Design || Taylor's University
GCD60104 || Typography 
Task 3: Type Design & Communication

---

Table of Contents

1. Instructions

2. Exercises
3. Feedback
4. Reflections

5. Further Readings

---

INSTRUCTIONS

<iframe src="https://drive.google.com/file/d/1-eBJpewe3DfMrMJqL1YLtcAc97J_ymgH/preview" width="640" height="480" allow="autoplay"></iframe>

---

EXERCISES

For task 3, the assignment involved designing a limited number of Western alphabets. To start, I chose an existing font design that aligned with the direction I intended to pursue. I meticulously analyzed the selected font, examining its anatomical parts. Commencing with rough sketches, I explored various options. Upon approval, I moved forward with digitizing the drawings using software like Adobe Illustrator and later FontLab. Critique sessions included printing out the artworks and subsequent refinement. When time allowed, I generated the font for practical use, ensuring I watched the provided video before initiating the task.

Throughout this process, my objective was to craft a typeface embodying the hallmarks of a good typeface, encompassing subtlety or character, presence, legibility, and readability. The specific letters I crafted were: a, e, t, k, g, r, i, y, m, p, n, !, #, and ,. Upon completing the font, I developed a basic A4 size poster to showcase it, adhering to additional instructions provided in class. It was recommended to refer to the specified videos for further guidance.

Research

To initiate the task, I conducted research on the provided font resources and Pinterest to explore various fonts and gain initial ideas. Several fonts captured my attention during this exploration.

Figure 1: Visual Research || 05/10/23

Sketches

The task involved creating sketches of personally designed fonts using three different pens, either on paper or digitally, while maintaining a consistent angle. Mr. Vinod provided specific letters—o, n, g, and b—to be sketched before transitioning to digitized fonts using Illustrator. We were advised to conduct our sketches, preferably on graph paper, to ensure uniformity in size and alignment. Here, I sketched out 5 different letterforms using three different pens digitally.

Figure 2: First Sketch || 07/10/23

Figure 3: Second Sketch || 07/10/23

Figure 4: Third Sketch || 07/10/23

Figure 5: Fourth Sketch || 07/10/23

Figure 6: Fifth Sketch || 07/10/23

After reaching out to Mr. Vinod for feedback on my sketches, he advised me to commence digitizing the third sketch (figure 4).

Digitisation of letterforms

Typeface design variation #1 (lowercase)

Subsequently, I entered Adobe Illustrator and set up an artboard following the guidelines provided in the video by Mr. Vinod. Venturing into the process of digitizing letterforms on Illustrator for the first time, I initiated by using the pen tool to trace the sketches for the lowercase alphabets 'n, o, g, b.' Below, I will outline the step-by-step process I followed to achieve the final result of my inaugural digitized letterform.

I began by selecting a font with a similar appearance to my letterform and placed it on the artboard to establish preliminary guideline measurements, such as the baseline, x-height, cap height, ascender height, and descender height, as instructed in the video. Adhering to a specified x-height of 500pt, I adjusted my sketch accordingly. Using the pen tool, I roughly traced the sketch (figure 4), and subsequently, I converted the stroke to the brush tool to define the thickness and angle. In the final steps, I manipulated the anchor points to introduce slightly rounded edges to enhance the overall form of the letterforms.

Figure 6: Adding guidelines using a similar looking font || 10/10/23

Figure 7: Initial letterforms after tracing the sketch || 10/10/23

Figure 8: Digitised letterforms after curving the edges slightly || 10/10/23

Following a deliberate practice approach, I proceeded to create all the lowercase English alphabets from 'a' to 'z' using the same method I employed earlier. Initially, I generated the letters and subsequently refined them on the next artboard by incorporating additional details. In the image below, the top artboard exhibits the letters in their initial form without detailed strokes, while the bottom artboard presents the letters with the added detailed strokes.

Figure 9: All letter forms with and without the detailed strokes || 10/10/23

After achieving satisfaction with the practice, I proceeded to complete and finalize the letters specified in the module guidelines, which included 'a', 'e', 't', 'k', 'g', 'r', 'i', 'y', 'm', 'p', 'n', '!', '#'. The following showcases my finalized letterforms for my initial typeface design. I additionally created a bold version of this typeface design to further explore and expand upon this exercise.

Figure 10: Regular Vs. Bold version of typeface design #1  || 10/10/23

Figure 11: Finalised lowercase typeface design #1  || 10/10/23

After finalizing the letterforms, my next step was to merge all the strokes together to create each letter as a single object. To achieve this, I selected the letter, went to the Object menu, chose Path > Outline Stroke, and then used the Pathfinder option to select Unite. This process merged all the individual strokes used to create each letter.

Figure 12: Outline view of the letterforms before outline stroke + unite || 10/10/23

Figure 13: Outline view of the letterforms after outline stroke + unite || 10/10/23

Prior to transitioning to FontLab, the last step involved measuring the x-height, cap height, ascender height, and descender height of my typeface from the baseline as these measurements would be required in order to continue with FontLab later on. This was achieved by utilizing rectangles, as illustrated in the image below.

Figure 14: Measuring the guideline heights || 10/10/23

After completing the letterform design, Mr. Vinod guided us to transfer the designed letterforms to FontLab. Subsequently, I proceeded to FontLab to transform my typeface design into a usable font. I began by making adjustments to certain settings as instructed in the class-provided videos and then importing (i.e., copy-pasting) all the letters I had created. I named the typeface 'Ethnic-Regular'. Once the import was complete, I fine-tuned the side bearing and overall kerning of the typeface.

Figure 15: Naming the typeface || 11/10/23

I set the family name of the font as 'Ethnic'.

Figure 16: Editing Family Dimensions || 11/10/23

Figure 17: Editing Font Dimensions || 11/10/23

I made adjustments to specific fields in the family and font dimensions panel based on the measured cap height, ascender height, and descender height.

Figure 18: Inserting all the required letters and symbols || 11/10/23

Figure 19: Checking Kernings and Spacings || 11/10/23

Figure 20: Checking Kernings and Spacings in a different combination of letters || 11/10/23

I reviewed and adjusted the kerning of the font across various combinations to guarantee consistent spacing when utilizing the typeface. Upon achieving satisfaction with the result, I proceeded to export the font.

Download font #1

Typeface design variation #2 (lowercase)

Upon completing my initial typeface design, I felt inspired to explore more creative possibilities. I delved into the creation of another typeface design, following the exact same steps. I will briefly discuss the workflow below.

Figure 21: Initial letterform with guidelines || 14/10/23

Figure 22: Outline view of the letterforms before outline stroke + unite || 14/10/23

Figure 23: Outline view of the letterforms after outline stroke + unite || 14/10/23

Figure 24: Measuring the guideline heights || 14/10/23

Figure 25: Finalised lowercase typeface design #2  || 14/10/23

After finalizing the letterforms in Illustrator, I proceeded to FontLab. Below, I will share some insights into this process. I named this typeface design 'Modern-Regular.' 

Figure 26: Naming the typeface || 29/10/23

Figure 27: Editing Family Dimensions || 29/10/23

Figure 28: Editing Font Dimensions || 29/10/23

Figure 29: Inserting all the required letters and symbols || 29/10/23

Figure 30: Checking Kernings and Spacings || 29/10/23

Figure 31: Checking Kernings and Spacings in a different combination of letters || 29/10/23

After achieving satisfaction with the result, I exported the font.

Download Font #2

Typeface design variation #3 (uppercase)

Because I had designed only lowercase fonts, I wanted to explore an uppercase typeface as well. So, I came up with a design and digitized it using the exact same process as before.

Figure 32: Initial letterform with guidelines || 02/11/23

Figure 33: Outline view of the letterforms after outline stroke + unite || 02/11/23

Figure 34: Measuring the guideline heights || 09/11/23

Figure 35: Finalised uppercase typeface design #3  || 09/11/23

Upon completing the letterforms in Illustrator, I advanced to FontLab. In the subsequent section, I will provide insights into this process. I decided to name this typeface design 'Tough-Regular.'

Figure 36: Naming the typeface || 11/11/23

Figure 37: Editing Family Dimensions || 11/11/23

Figure 38: Editing Font Dimensions || 11/11/23

Figure 39: Inserting all the required letters and symbols || 11/11/23

Figure 40: Adjusting the side bearing || 11/11/23

Figure 41: Checking Kernings and Spacings || 11/11/23

Once content with the outcome, I exported the font and transitioned to the subsequent phase, involving the creation of a poster featuring the typeface.

Download Font #3

Poster Design

Following the export of fonts from FontLab, I installed them on my laptop. I then resumed work in Illustrator to design the layout for the poster. However, specific criteria needed to be adhered to for the poster, such as maintaining uniform point size throughout except for the byline, avoiding additional elements or colors, ensuring a white background, and adhering to A4 size specifications. The poster had to include a sentence with at least one punctuation mark. The goal was to create an interesting and impactful composition solely with typography, excluding other elements. Additionally, we were instructed to type our name and the typeface name in 12 pt using Univers for the byline. I created multiple posters with each font to identify the most suitable one while meeting the specified criteria. I experimented with various sizes and positions using the three distinct fonts I had created.  The next step involved selecting the most satisfactory version. Before finalizing, I sought feedback from Mr. Vinod on my poster design.

Figure 42: Poster designs using 'Ethnic-Regular' || 11/11/23

Figure 43: Poster designs using 'Modern-Regular' || 11/11/23

Figure 44: Poster designs using 'Tough-Regular' || 11/11/23

After experimenting with various layouts, I sought feedback from Mr. Vinod, and his preference leaned towards the posters shaped like the '!' sign that I had created.

The subsequent step involves incorporating my self-portrait into the poster while drawing inspiration from Reza Abedini's artwork. 

Figure 45: Research on Reza Abedini's artwork || 20/11/23

    

Initially, I found a close-up photo of mine and started exploring a few layouts.

Figure 46: Poster layouts with font #1 (with self-portrait) || 21/11/23

After I came up with these layouts, I sought Mr. Vinod's advice. He told me that my eyes were drawing more attention from the audience than the type font itself, so he suggested I keep them covered. I followed the instruction and tried out a few more layouts that wouldn't bring the focus on my face as much.

Figure 47: Poster layouts with font #3 (with self-portrait) || 22/11/23

Figure 48: Two shortlisted poster layouts || 22/11/23

In conclusion, I found the exclamation mark poster to be the most unique due to its shape. However, the chosen typeface variation #3, 'Tough-Regular,' did not appear very clear when compressed into an exclamation mark. The clarity was better with font #1 than font #3 for the exclamation mark poster. To align with my preference for font #3, I opted for the top right poster as my final submission. In this layout, all the letters are big and clear, ensuring that the focus is on the type as instructed by Mr. Vinod.

FINAL

Figure 48: Final font design"Tough - Regular" || 23/11/23

Download Font

Try out my font!

Available alphabets (capital letters) and punctuations to type: A, E, T, K, G, R, I, Y, M, P, N, !, #, . & ,

PDF for the final font design'Tough - Regular'

<iframe src="https://drive.google.com/file/d/17_3sK3K83iXQy0mxFBhXLJ9fw_XaY_Td/preview" width="640" height="480" allow="autoplay"></iframe>

Figure 49: Final Poster JPEG || 24/11/23

PDF for the final poster

<iframe src="https://drive.google.com/file/d/1NqpZ-pb077O8NrRUSqXN098uGbyUZAOr/preview" width="640" height="480" allow="autoplay"></iframe>

Figure 50: Final Poster JPEG (with self-portrait) || 24/11/23

PDF for the final poster (with self-portrait)

<iframe src="https://drive.google.com/file/d/1O1-ee6orlPXNCQx0b6wQJDC2DF2sIzYa/preview" width="640" height="480" allow="autoplay"></iframe>

---

FEEDBACK

Week 7

Specific Feedback: 
Go for the third sketch.
Prioritize the progress of the e-portfolio for Task 2. Update the exercises.
General Feedback:

Submission requirements for task 2: 
1. JPEG format with a resolution of 300PPI in Grayscale.
2. A PDF version without guides and grids.
3. Another PDF version with guides and grids.
4. Export the guides and grids from the PDF version and save them as a JPEG.
Ensure that all the required formats are prepared for submission as outlined above.

Task 3: 

Lock the guides so that we do not accidentally move them.

Do not change the angle of the stroke at any time

Copy the artboard and show progress, do not do all the steps in the same artboard.

Week 8

Independent learning week - no class

Week 9

Specific Feedback: 
The usage of pen tool is not perfect, redraw using the method shown in class (pen + brush)
General Feedback:
Avoid inconsistency of angles and line thickness in the typeface
Two ways for digitised fonts: Shapes or Pen+Brush
To combine the shapes: Object > Path > Outline Stroke
Command y to see the outline
Keep the work process as a proof in Illustrator
Don't delete of manipulate the origin of the work

Week 10

Specific Feedback: 

Correct a & t’s orientation
Elongate the middle line of m
The font seems to be okay, proceed with font lab as soon as possible
General Feedback:

Replace H with M in font lab for capital letter
Replace O with G in font lab for capital letter
Do not "Round", click on "Keep".
Ensure to set preferences ("keep strokes and colours... and Ai import original position...").

Week 11:

Specific Feedback:

‘a’ needs to be corrected for the first typeface 

‘g’ and ‘#’ need to be rectified for the second typeface

Submit both, show the work process for both the type faces

The typefaces are quite interesting so both can be submitted

General Feedback:

Make a poster A4

Any sentence and at least 1 punctuation

Do not change the point size at any time

Goal is to make it impactful but just with the type, no other elements (interesting composition)

Type your name along with the typeface name in 12 pt using Univers

Week 12:

Specific Feedback:

Use 12 pt for the by line

Take picture and post on the poster

! Sign is good to go

Do not use Black background

General Feedback:

The larger the fonts the better

Proceed on your final compilation

Use Reza Abedini work as a reference for your poster

Week 13:

Specific Feedback:

Change your by line to either the top right or the middle bottom for the ‘!’ Poster

Stick to the ‘!’ Poster as its keeping more focus on the fonts than the other posters

The moment eyes are shown, the focus is driven to the picture not the font

The new typeface is good as well, can proceed with the work 

Add all 3 typefaces in the e-portfolio

General Feedback:

2 submissions - one with the picture and the other without

Make the poster with the fonts first and then only place the image

Main focus should be on the font not the image

---

REFLECTIONS

Experience

Embarking on the intricate journey of typeface development under the guidance of Mr. Vinod was a captivating and enlightening experience. The process demanded meticulous attention to detail, revealing a profound understanding of the delicate interplay between form and function. The hands-on nature of the task allowed for a deeper immersion into the world of typography, offering insights into the complexities of crafting each character. The fusion of comprehension and elegance became a paramount focus, turning the task into a delicate dance of creativity and technical precision. This experiential learning provided a tangible connection to the artistry of typeface design and its pivotal role in visual communication.

Observation

During the design process, keen observation honed in on the subtleties that set each letter apart. The significance of every curve, stroke, and the interplay between positive and negative space became apparent, defining the expressive character of the typeface. The iterative nature of the design process showcased how even minor alterations could create a ripple effect throughout the entire character system. This phase was not just about executing a vision but understanding the dynamic relationships within each letterform. The ability to derive inspiration from existing designs and adapt them to one's own ideas underscored the importance of a discerning eye and a comprehensive understanding of the nuances in font design.

Findings

The findings from the project underscored the critical role of consistency in font design for a seamless and polished image across all communication. Additionally, the delicate balance between spacing and proportions emerged as a key factor significantly impacting the typeface's readability. Experimentation with various weights and exploration of serif modifications provided valuable insights into the adaptability of type design. The transformation of planned letters into a poster format illuminated the practical utility of the typeface, emphasizing the importance of considering real-world usage and perception. This phase highlighted the iterative nature of design and the continuous refinement required for achieving a harmonious blend of creativity and technical proficiency in typography.

---

FURTHER READINGS

Week 7

Typography Referenced - Type Design & Development

The typeface market has experienced significant growth, with digital type foundries flourishing and an increasing number of designers venturing into typeface creation. Text typefaces are evolving to include various weights and widths, catering to detailed typography, while display typefaces explore experimental forms and alternate glyphs. Corporate branding now demands versatile typefaces suitable for diverse markets and environments, reflecting the internationalization of publications and brands across scripts.

The rise of smartphones, eBook readers, and tablets has brought typefaces to the forefront of design, distinguishing publications in a format-agnostic environment. Web fonts have matured, enabling typefaces for browser-based texts, signaling a shift towards personal, local, and portable branding. Despite the thriving type market, the demand for skilled designers and font engineers has increased, with the industry requiring refined and extensive skills. Typeface design is a blend of personal identity, societal demands, technological constraints, and historical influences, emphasizing the importance of a visual history of past designs in a designer's toolkit.

Historically, the divide between display and text typefaces was significant, but contemporary narratives now consider the full range of print production, acknowledging the contribution of sans serifs, display types, and non-Latin scripts. Today's richer story of typeface development explores styles in response to document types, technological advancements, market forces, and the interplay between cultural movements and design. Old books and specimens play a crucial role in enriching understanding, providing inspiration, and preventing the reinvention of established design principles.

Figure 51: A page from a 1958 Fonderie Olive specimen showing François Ganeau’s Vendome Romain, an inspired interpretation of the Garamond style, Typography Referenced - Page 32 || 18/10/23

Week 8

Typography Referenced - Type Design & Development

Letters, Lines, and Paragraphs

While typefaces are traditionally classified based on features such as contrast angle, modulation rate, and serif shape, a more effective examination considers their context on the page. In practical use, features like text block darkness, visual alignment along horizontal and vertical axes, letter spacing, ascender and descender length, and line spacing take precedence over individual letter characteristics. Typeface texture becomes less significant as complementary styles and weights, editorial structure, and paragraph dynamics determine reading strategy. Typeface design is intricately linked to historical and cultural contexts, requiring designers to be aware of and respect users' expectations. While designers can push boundaries and surprise users, a solid understanding of evolving conventions across time, geography, demographics, and document types is crucial. A skilled designer not only observes but also acts as a social commentator, adding layers of interpretation and response to the culture of visual communication.

The Language of Letters

The distinctions between typeface design, type design, and font design, as well as between letters, letterforms, typeforms, and glyphs, are crucial aspects of the design process. Letterforms are representations of manually crafted sequences of letters, while typeforms are representations intended for mechanical reproduction, highlighting differences in their intended use and maker's control. Typeface design captures the designer's intentions for a collection of typeforms, which, in a specific typesetting environment, get converted into glyphs for digital formats. This machine-specific implementation is termed a font, enriched with information about space, relationships with other glyphs, and behavior. The processes of typeface design and font making, while nominally sequential, are often closely interwoven in modern design practices, with individuals or separate team members embodying these roles.

Week 9

Typography Referenced - Type Design & Development

Tools and Concepts

Typeforms, integral to writing in its broadest sense, encompass everything from graffiti to elaborate public lettering. They establish fundamental relationships between strokes and empty space at the core of typeface design. Designers build upon these forms, introducing interpretation and stylistic cues, creating unknown combinations with consistent texture. Even the most constructed typefaces subtly reflect the underlying rhythm of manual mark-making.

In contrast, type design involves abstraction as designers imagine idealized shapes captured with type-making technology, navigating its potential and limitations. The reference model for a typeface, initially designed on paper, is separated from each implementation, accommodating rendering limitations and character set restrictions. Platform-independent digital type further disconnects the model from specific shape rendering, emphasizing the importance of mental tool models.

When designing script typefaces, direct reference to written forms is possible, but most typefaces depart from such forms. To ensure consistency, designers develop mental models of tools, imitating their behavior and movement. Invented tools, even those with unconventional behaviors, provide a basis for a wide range of styles, especially in extreme scales where manual tools offer limited guidance. This approach facilitates the creation of large, consistent typeface families, accommodating variations in style, modulation, and stroke treatments, even when departing from organic shapes associated with traditional tools.

Figure 52: Typography Referenced - Page 37 || 24/10/23

Figure 53: Typography Referenced - Page 38 || 24/10/23

Week 10

Typography Referenced - Type Design & Development

From a Letter to a Typeface

Designing a single letter or a few is relatively straightforward, but creating a full alphabet requires balancing complementary and contrasting features across a large character set. The goal is to ensure that the range of shapes forms a unified whole, distinguishing typefaces from lettering and allowing for unique features while maintaining readability. Designers often start with specific sequences like "afgnprst" or "abdeghinoy," which serve as well-documented starting points, allowing for rapid testing and development of new typefaces. The choice of initial letters depends on factors such as the designer's experience, skill level, and whether the design is entirely original or inspired by an existing typeface. Typically, a small set of letters, like "adhesion" (adhesion for ease), is selected to strike a balance between flexibility for quick direction changes and offering a good representation of typeface-wide features and style in text settings. Letters such as f, g, k, and diagonals are often omitted initially, providing a focused and manageable starting point for the design process.

Figure 54: Typography Referenced - Page 39 || 31/10/23

Week 11

Typography Referenced - Type Design & Development

Design by Team

There is a noticeable shift towards team-based typeface design, departing from the historical model of individual designers. This collaborative approach draws on a group's collective expertise, akin to the team-oriented nature of typeface design during the hot-metal and phototype eras. The advent of digital, platform-independent formats has not only allowed designers to operate independently but has also facilitated an unprecedented expansion in character sets and typeface families. The increased demand for diverse skills in the creation of text and branding typefaces has led to the emergence of mid-size foundries where individuals with complementary skills collaborate on a single product. This shift has also given rise to a greater need for documentation and explanation within the design community.

The traditional "creative hermit" model is being replaced by new work modes, emphasizing collaboration and shared expertise. Typeface drawings from museums and collections often display x-heights ranging from a few inches to around ten inches, reflecting the ultimate purpose of the typeface. Designing on a computer screen often requires a large zoom factor, especially in display typefaces, to visualize how the typeforms will appear. However, the challenge for designers lies in understanding how design decisions at one scale translate across different scales, particularly in text-sized typefaces. New designers often grapple with this challenge, learning to anticipate the impact of small changes in individual characters on the overall paragraph through experience.

To address this, many designers utilize interpolation, particularly through tools like Multiple Master in applications such as Fontlab. Interpolation allows for the development and fine-tuning of designs, accommodating a range of proportions and details. However, its effectiveness depends on the quality of fonts at the extremes and the span the interpolation covers for each parameter, making it more challenging when interpolating between extreme weights or widths.

Figure 55: Typography Referenced - Page 41 || 08/11/23

Week 12

Typography Referenced - Type Design & Development

Rendering Environment

Figure 56: Typography Referenced - Page 42 || 14/11/23

The rendering environment in type design applications significantly influences the connection between paragraph appearance and specific design choices. While zooming in allows for detailed views, it hinders the display of entire paragraphs. Zooming out for multiple lines often results in low-resolution details. Printouts also pose challenges due to factors like Postscript version, toner level, paper quality, and orientation affecting laser output. To assess typeface performance in different conditions, designers often obtain printouts from various printers, sometimes incorporating lines of type in print jobs or small advertisements in their own typefaces. It's important to note that process black is generally lighter than laser toner, impacting how a typeface appears on offset printing.

In the past, digital typefaces faced limitations with a 256-character cap and the necessity to ship in linked styles (regular, italic, bold, and bold italic). However, most foundries have now expanded character sets to cover the Latin script and are exploring additional scripts, primarily driven by branding demands. The most intriguing developments in the field are centered around reconsidering typeface families, reflecting a shift towards more comprehensive and diverse offerings.

Testing the Design

The typeface design process involves a reductive refinement of details, starting with initial sketches that serve as starting points. It follows a structured methodology of changes, reviews, testing, and repetition. The designer's attention progresses from paragraph-level values to the overall density of the design, then to the fundamental interplay of space and main strokes, followed by elements ensuring consistency and homogeneity, and finally focusing on elements imparting individuality and character. The central aspect of this process involves a dialogue filled with questions about the conditions of use and how the success of the design will be evaluated.

For extensive typeface families, thorough testing is essential, not only with documents highlighting the typeface's qualities but also with documents approximating a wide range of possible uses. Even tight briefs, such as those for corporate clients, can generate a broad range of scenarios that may evolve after typeface delivery. However, designers must also understand the constraints of their testing environment. Despite the screen gradually becoming a better-controlled testing area than print, challenges persist with the limitations of laser printers, variable quality in digital printers, and the absence of wet proofs for offset, complicating the testing process.

Figure 57: Typography Referenced - Page 43 || 14/11/23

Figure 58: Typography Referenced - Page 44 || 14/11/23

Week 13

Typography Referenced - Type Design & Development

Space Matters

The crucial element in a typeface, according to punchcutters and letter cutters, is the space between letters. Readers may struggle to identify specific widths along a line of text but are highly skilled at detecting inconsistencies. A designer can establish a typeface's basic rhythm within the space of a few words, utilizing small variations in basic dimensions and spacing to create a normal or give the impression of a wider or narrower variant. This fundamental pattern significantly influences the readability of the typeface, surpassing the impact of the details of the dark shapes themselves.

Figure 59: Typography Referenced - Page 45 || 20/11/23

While spacing display typefaces is relatively straightforward, spacing text typefaces can be a time-consuming process. The optimal average space between typeforms hinges on the relationship between the vertical-stroke width and the width of counters in two-stroke forms, considering the intended optical size of the typeface. The x-height in relation to the width of the stroke also plays a role within a relatively narrow range. This framework establishes a system of interlocking ratios that adjust with modifications to these variables. However, it doesn't provide a direct answer on how much space to leave between letters; instead, it suggests a series of relationships. The key is to recognize that text typefaces are spaced for paragraphs, aiming for a specific density in the texture. Well-spaced paragraphs typically have a minimum of a stroke width's white space between round letters and proportionately more between straight ones.

Figure 60: Typography Referenced - Page 46 || 20/11/23

Character Expansion

The demand for typefaces with extended character sets has risen steadily due to the need for operating systems and application interfaces to support multiple languages. Internationalization of publications and brands further contributes to the requirement for larger typeface character sets. Custom typefaces for major brands often encompass several thousand characters and span multiple scripts, with a minimum expectation to cover Cyrillic, Greek, and extended Latin. Typeface design is intricately linked to the limitations of typesetting environments, with adaptations and extensions necessary for non-Latin scripts featuring multiple diacritics or shapes that defy sequential rectangular structures. While non-Latin scripts traditionally lacked diverse styles compared to the competitive publications market, the landscape is evolving due to international branding and localized publications, leading to a surge in new typefaces for non-Latin scripts and increased interest from typeface designers.

Figure 61: Typography Referenced - Page 48 || 20/11/23