Advance Typography / Task 2/ (A)Key Artwork & (B) Collateral

13/05/2024 -21/05/2024 (Week 4 - Week 8)

Isabel Tan Xen Wern/ 0355602/ Bachelors of design in creative media/ Taylors University

Advance Typography  GCD 61004

Task 2/ (A)Key Artwork & (B) Collateral 

JUMPLINKS

Lecture

Introduction

Task 2(A): Key Artwork:

Task 2(B): Collateral:


LECTURE

Week 5 (20/05/24):
understanding type history, type anatomy and type conventions in order to create a good type. Determine the type's purpose and applications. Examine existing fonts as a reference.

Figure 1.1
contrast (20/05/24)

Sketching - there are two ways designers sketch their types:
  • Traditional - brushes, ink, pen and paper, scanned for the purpose of digitalizing it
  • Digital - Wacom, drawing tablets etc., quicker, persistent and consistent.
Digitization - Using professional software such as Font Lab and Glyphs

Testing - Refining and correcting any lacking aspects of the typeface, especially for leading and readability problems.

Deploy - Refinement may still be needed after deployment, always revise.


Week 6 (27/05/24): Perception & Organization
visual navigation and interpretation of the reader via contrast, form organization of the content (content: Textual, visual, graphical, and color).  

Figure 1.2
contrast (27/05/24)

Contrast: 
In Typography, contrast is needed to separating different types of information. There are several methods to create contrast in typography, the example of contrast by Rudi Ruegg can be seen in picture below.



Contrast based on Dair's perception:

Figure 1.3
contrast based on Dair's perception (20/05/24)
  • Size: Provides a point to which the reader's attention is drawn.  The example is when we read our eyes will notice the bigger font, that is why headlines are created in bigger size, to grab reader's attention. 
  • Weight: Describes how bold type can stand out in the middle of lighter type of the same style.  Heavier weight have a power point of visual attraction or emphasis.
  • Form: Distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant.
  • Structure: Different letterforms of different kinds of typefaces.  
  • Texture: Putting together the contrast of size, weight, form, and structure, and applying them to a block of text on a page.  
  • Direction: By turning one word on its side can have a dramatic effect on a layout.  Text blocks also have their vertical horizontal aspects of direction.
  • Color: Using color is suggested to create contrast, cause it's often less emphatic in value that plain black on white.  It is important to consider which element that needs to be color or emphasized.

Example of form and communication in design:

Organization / Gestalt:
Gestalt from german word (thing has been placed of put together).  The psychology of this word is an attempt to understand the laws behind the ability to acquire and maintain meaningful perceptions.

Gestalt Theory:
emphasize that the whole of anything is greater than its part (based on the idea that we experience thing as unified whole).


Figure 1.4
Example of form and communication in design (20/05/24)

Perceptual Organization / Grouping: 
  • Law of Similarity: Gestalt grouping that elements that are similar to each other tend to be perceived as a unified group.  This can refer to color, orientation, size, and motion.
  • Law of Proximity: Grouping elements that are close to together.
  • Law of Closure: Refer to mind's tendency to see complete picture, even the picture is incomplete.
  • Law of Continuation: Holds that humans tend to perceive each of two or more object as different, singular, and uninterrupted object even when they intersect.
  • Law of Symmetry: Gestalt grouping law that states that elements that are symmetrical to each other tend to be perceived as a unified group


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INTRODUCTION

Figure 1.5
MIB (20/05/24)



Task 2(A): Key Artwork
Idea
idea was to make an artwork that focuses on me liking cats and joy.

visual inspiration
Figure 1.6a
visual inspiration (20/05/24)
  • something random and bubbly in a way.

Figure 1.6b
visual inspiration (20/05/24)


Figure 1.7a
sketches (20/05/24)

Figure 1.7b
sketches (20/05/24)



Digitalization process:

Figure 1.8
digitalized ideas (20/05/24)

Figure 1.9
digitalized ideas (20/05/24)
  • Trying to included the bell in my name to be creative.



Figure 2.1 
idea (20/05/24)
  • Rejected because it was unreadable, i thought this would work well because it is good for animation logo.



Figure 2.2
process (25/05/24)
  • My idea was to create a smiley face with the a and to show my happy personality and the candle to add on to that personality.
Figure 2.3
process (25/05/24)
  • I decided to connect the A and S to make it look more like one piece


Figure 2.4
process (25/05/24)
  • This was an idea i tried to make it look like a monkey face

Figure 2.5
  • The smile looked like it had too much graphical elements and Hard to look at so I removed it.

Figure 2.6
process (25/05/24)




TASK 2(A) SUBMISSION

Figure 2.7
black and white submission (21/06/24)



Figure 2.8
black and white submission (21/06/24)



Figure 2.9
Wordmark in actual colors on lightest shade of color palette (21/06/24)



Figure 3.1
Wordmark in lightest shade of color palette on darkest shade of color palette (21/06/24)



Figure 3.2
color palette (21/06/24)

Figure 3.3
animation (21/06/24)






Task 2(B): Collateral

Figure 3.4
process (20/06/24)

Figure 3.5
process (20/06/24)
  • Using my own photo in black and white, I used adobe photoshop to edit it.

Figure 3.6
process (20/06/24)
  • I added the extraction from my design into it with different color's to emphasize on it more.

Figure 3.7
process (20/06/24)
  • I originally wanted to use this photo but the colors were too light to suit mu color choices.

Figure 3.8
process (20/06/24)
  • I think a candle is suitable because my design included a candle itself and the extraction would also fit well with it as a logo design.

Figure 3.9
process (20/06/24)
  • I had to change it to the color I think is suitable.


Figure 4.1
process (20/06/24)
  • A bottle because if i turned the extraction of my artwork upside down it looks like water droplets and it suited for a water bottle.

Figure 4.2
process (20/06/24)




Task 2(b) Submission

Figure 4.3
screengrab of Instagram (21/06/24)



Figure 4.4
collateral 1 (21/06/24)


Figure 4.5
collateral 2 (21/06/24)



Figure 4.6
collateral 3 (21/06/24)


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FEEDBACK

Week 5 (20/05/24):

General Feedback: 

  • design must have a meaning / communicate how is yours different from the rest take your artwork.
  • check if someone can read it fast what is it that clients want.(try not to be personal cause they might not like it)
  • can do it minimally, not too much. not too much wide space ( reduces impact of the design)
  • keywords should be possible (negative does not sell), can turn negative to positive.
  • more sketches can help you dig deeper for future as a designer (ui/ux...)
  • promoting yourself

Specific Feedback:

  • not readable
  • can keep the cat.

Week 6 (27/05/24): 

General Feedback: 

  • different in color must be big

Specific Feedback: 

  • refine the letterforms to make it smoother
  • create a space for each letter


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REFLECTION

Observation: 

In the Advanced Typography module, I recognized the critical importance of grids, layouts, and page flow in effective communication. The interplay between images and text was particularly striking, underscoring the necessity for their harmonious integration. Adapting designs to various media while maintaining a consistent aesthetic proved to be a significant challenge, emphasizing the need for design flexibility.

I learned to utilize grids and layouts to organize information, enhancing readability and visual appeal. Understanding the complementary relationship between images and text was a major revelation. I practiced balancing these elements to improve the overall design. Adapting designs for different formats taught me to preserve the core identity across multiple media, a crucial skill in today's multi-platform landscape.


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FURTHER READING

Figure 4.7
The Vignelli Canon by Massimo Vignelli (20/05/24)

Chapter 1: The Intangibles

In the first chapter of "The Vignelli Canon on Design," Massimo Vignelli emphasizes the importance of intangible elements in design. He discusses principles that transcend specific projects or mediums and form the foundation of good design practice.

In summary, Chapter One of "The Vignelli Canon on Design" lays the groundwork for a philosophy of design that is thoughtful, disciplined, and responsible. Vignelli emphasizes the importance of understanding the meaning behind a design, organizing elements with precision, ensuring practical usability, and approaching the craft with a sense of responsibility and equity. These intangible principles form the bedrock of Vignelli's approach to creating timeless and meaningful design.

Chapter 2: The Tangibles

In the second chapter of "The Vignelli Canon on Design," Massimo Vignelli focuses on the tangible elements of design, which are the physical and visible components that give form to his principles. These elements include typography, grids, color, and imagery, all of which are essential in creating cohesive and effective designs.

In summary, Chapter Two of "The Vignelli Canon on Design" is into the tangible aspects of design, providing practical guidelines for using typography, grids, color, and imagery effectively. Vignelli emphasizes the importance of consistency, quality, and thoughtful application of design elements to create coherent and impactful designs. This chapter serves as a practical guide for designers to implement Vignelli's design philosophy in their work.



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