The next step in creating our typeface layout, after creating the final sketches on graph paper, is to scan them into the computer and image trace them in Illustrator to vectorize them.
Over last weekend I took photos of my drawings and opened them in Illustrator. I then image traced the page and then copied each letter over to a different file to position them. This step of the process was long and tedious since each letter had to be adjusted to fit the x-height and descender/ascender lengths.
During class on Tuesday, I continued to clean up my spacings and sizes my descender/ascender lengths pass the size of the artboard, but my professor reassured me that I should be okay as long as the lengths are consistent.
Towards the end of class, I began to question the quality of my image trace. My characters are comprised of small marks so they can be traced, but they were hand-drawn so they are not consistent in length and weight. I began to explore going through and replacing all the marks with a drawn line on Illustrator so the glyphs were more consistent throughout.
I started liking the consistency and more clean style, but then they began to look more boxy and flat in certain parts. I decided to revert to my original idea and keep the hand-drawn consistencies because the typeface is meant to be hand traced so it should stay handmade.
_________________________________________________________________________
2/13/20
After editing my typeface I began to open them in Fontself Maker in Illustrator. I knew that some characters would need to be adjusted with baseline and kerning, but as I was typing I realized there was a large disconnect between the flow from character to character. Because the typeface is to imitate cursive I would like them to lead into one other and not need to be adjusted heavily by the user.
Over last weekend I took photos of my drawings and opened them in Illustrator. I then image traced the page and then copied each letter over to a different file to position them. This step of the process was long and tedious since each letter had to be adjusted to fit the x-height and descender/ascender lengths.
During class on Tuesday, I continued to clean up my spacings and sizes my descender/ascender lengths pass the size of the artboard, but my professor reassured me that I should be okay as long as the lengths are consistent.
 |
| Descender |
 |
| Ascender |
Towards the end of class, I began to question the quality of my image trace. My characters are comprised of small marks so they can be traced, but they were hand-drawn so they are not consistent in length and weight. I began to explore going through and replacing all the marks with a drawn line on Illustrator so the glyphs were more consistent throughout.
 |
| Original Image Traced |
 |
| Attempt With Using a Consistent Line |
I started liking the consistency and more clean style, but then they began to look more boxy and flat in certain parts. I decided to revert to my original idea and keep the hand-drawn consistencies because the typeface is meant to be hand traced so it should stay handmade.
_________________________________________________________________________
2/13/20
After editing my typeface I began to open them in Fontself Maker in Illustrator. I knew that some characters would need to be adjusted with baseline and kerning, but as I was typing I realized there was a large disconnect between the flow from character to character. Because the typeface is to imitate cursive I would like them to lead into one other and not need to be adjusted heavily by the user.
The problem was primarily in the lowercase characters since they need to flow into one another more than the uppercase character do with the rest of the word. To adjust the difference in spacing I created a guideline roughly halfway through the characters to create consistent connections between each letter.
No comments:
Post a Comment