21/10/2024--17/11/2024 (W5-W8)
LIU YITONG (0370907)
Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 2 Key Artwork & Collateral
TABLE OF CONTENT
AdTypo_5_PerceptionAndOrganisation
Perception in Typography
Typography involves visual navigation and interpretation using contrast,
form, and organization. Perception here refers to how we understand or
interpret visual elements in type design.
Contrast in Typography
Fig.1.0 Several methods in typography to create contrast
Fig.1.1 Methods of Contrast by Carl Dair
· Carl Dair's Principles of Contrast: He introduced seven
types of contrast: size, weight, form, structure, texture, color, and
direction. Each plays a crucial role in drawing attention and adding
emphasis within typographic designs.
· Examples of contrast include the difference between bold and
light type (weight), uppercase and lowercase letters (form), or serif and
sans-serif fonts (structure).
Form in Typography
Fig.1.2 Examples of form
Form pertains to the overall look and feel of typographic elements. Good
form leads the eye and creates a memorable visual impact. Typography
combines meaning with visual presentation, sometimes using distortion or
enlargement to turn letters into abstract forms.
Gestalt Principles in Typography
The presentation explains how Gestalt laws of perception apply to
typography and design. Some key laws include:
Fig.1.3 Gestalt Principles
Law of Similarity: Elements that look similar are grouped together.
Law of Proximity: Elements placed close to each other are perceived as a
group.
Law of Closure: Our mind fills in missing parts to perceive a complete
figure.
Law of Continuation: We perceive continuous lines or forms even if they
are interrupted.
Law of Symmetry and Simplicity (Prägnanz): We tend to perceive symmetrical
and simple forms as unified groups.
In task 2A, we were given instructions to create a wordmark of our own
name/pseudonym.
1. Mind-map ＆ mood-board
Begin Task 2 by making a mind-map (of who you are or like to be), create a
mood-board or an inspo. for direction and produce sketches of possible
wordmark/lettering of your name (first name or pet name or pseudonym —
minimum 4-5 characters).
· Mind-map
First of all, I completed a mind map about myself and decided to use
my pseudonym Omori for this design
after thinking for a long time.
Fig.2.0 Mindmap 'About Me', Week 4
· Mood-board
Then I went to the website to search for images to use as my mood board for
my design reference.
Currently there are three inspirations, the first is to do a bold, stable
and simple design. The second is to design an anime style exaggerated font
to combine the names and allow for a proper transition between the letters.
The third is to design a wordmark pixel style.
Fig.2.1 Mood-board, Week 4
2. Sketches
Fig.2.2 Sketches, Week 4
3. Digitisation
Fig.2.3 Explore, Week 5
This week I started to digitally explore the sketches that Mr. Vinod had
chosen, and I experimented with a lot of similar styles to make sure it
expressed the cuteness and boldness I was looking for.
Finally, I identified four final digital outcomes.
Task 2 (B) – Collateral
Fig.2.4 First attempt, Week 5
Actually, I like all of them except the first one. Based on the feedback I
got from the class, I decided to revise the bottom two versions.
Fig.2.5 Second Attempt & Third Attempt, Week 5
In the end, I chose the first one as my final product, because I think the
middle dot will make the word more readable, and the blank in the two o's
is like two eyes, which is very cute.
4. Animated Key Artwork
I want to create a flexible and cute animation for my text logo,
preferably something simple.
I started trying to make the letters include all the colors in the
splatter, and I thought about making them appear at different times so
that it would be more layered.
Fig.2.6 Progression in After Effects, Week 5
But I found it a little monotonous to separate the colors, so I tried to
add a dynamic effect of shaking the letters.
Final Animated Key Artwork , Week 5
Final Task 2A : Key Artwork
Black wordmark on white background, Week 5
White wordmark on black background, Week 5
Colour palette, Week 5
Wordmark in actual colours on lightest shade of colour palette, Week
5
Wordmark in lightest shade of colour palette on darkest shade of colour
palette, Week 5
Animated Key Artwork ( GIF ), Week 5
Final Task 2A ( PDF ), Week 5
Task 2 (B) involves designing animated key artwork and creating three
supporting items, such as Canvas bag and badge, using the artwork
developed in Task 2A. Following this, we will set up an Instagram account
to promote and establish the key artwork as a unified brand.
1. Collateral and mock ups
I found all the product models on MockupTree. I chose records, phone cases
and tote bags as my accessories.
· Collateral - Record
When designing the label for the album, I chose the o in omori as the core
element, which looks very regular and more comfortable.
Fig.2.7 Record design logo attempt, Week 6
Fig.2.8 Record - Final, Week 6
· Collateral - Tote bag
Because the color palette I chose has the nature of gradual change, I
thought why there was no design that could highlight the "gradual change",
so I wanted to use all the colors in the color palette for the logo of the
canvas bag.
Fig.2.9 Tote bag - Final, Week 6
· Collateral - Phone case
I have tried many ways to design the mobile phone case, but I decided to
use the logo used in the mobile phone case and the record as two of the
designs. But I was hesitant about the third design.
I tried to use "omo" as the main element, but it didn't work well.
Fig.2.10 Phone case design logo attempt, Week 6
After many agonies, I finally decided to still use o as the theme
element and change the color of the logo design used in the record,
which also solved the problem of lack of consistency in the design.
Fig.2.11 Phone case - Final, Week 6
2. Self portrait
Since I needed a selfie for the Instagram layout, I chose one of my
selfies and adjusted the self-portrait in Photoshop to export it to
Illustrator. I decided to use "omo" to cover my face because these three
letters really look like eyes and nose.
Here is the final result after adjustments.
Fig.2.12 Edited Self Portrait, Week 7
3. Instagram Layout
I combined my collateral design, logo design and selfie, and after Mr.
Vinod's approval, finally decided to publish the layout on Instagram as
follows:
Fig.2.13 Instagram Layout - Final, Week 7
Final Task 2B : Collateral
Collateral 1 - Record, Week 7
Collateral 2 - Tote bag, Week 7
Collateral 3 - Phone case, Week 7
Instagram link: Instagram
IG Screen Grab, Week 7
Task 2B PDF Compilation, Week 7
Task 2 Outcome Compilation
Final Task 2A : Key Artwork
Black wordmark on white background, Week 5
White wordmark on black background, Week 5
Colour palette, Week 5
Wordmark in actual colours on lightest shade of colour
palette, Week 5
Wordmark in lightest shade of colour palette on darkest shade of
colour palette, Week 5
Animated Key Artwork ( GIF ), Week 5
Final Task 2A ( PDF ), Week 5
Final Task 2B : Collateral
Collateral 1 - Record, Week 7
Collateral 2 - Tote bag, Week 7
Collateral 3 - Phone case, Week 7
Instagram link: Instagram
IG Screen Grab, Week 7
Task 2B PDF Compilation, Week 7
Week 5 - Task 2 (A) – Key Artwork
General Feedback: We refined our wordmark sketches this week in
class with the help of Mr. Vinod, and we have another week to refine and
digitize them.
Specific Feedback: The designs from 3-5 in the sketch are
very interesting and need to be explored more and improved.
Week 6 - Task 2 (A) – Key Artwork
General Feedback: In this week's class, Mr. Vinod confirmed
the Key Artwork for us and required it to be submitted in the following
forms:
· Black wordmark on white background
· White wordmark on black background
· Colour palette
· Wordmark in actual colours on lightest shade of colour palette
· Wordmark in lightest shade of colour palette on darkest shade of
colour palette wordmark animation
Specific Feedback: A few suggestions for my work, the i in
Omori is not easy to recognize, it looks a bit like the letter e. So I
need to double the gap to make it more readable.
Week 7 - Task 2 (B) – Collateral
General Feedback: In this week's class, we focused on completing
the creative product of our logo design and Posting it on Instagram
after approval.
Specific Feedback: The design is generally good, and it can be
typeset and posted on Instagram.
Experience
The process of creating key artworks and accessories has been both
challenging and rewarding for me. Task 2(A) focuses on refining lexical
symbols and exploring their generality through different expressions.
The journey begins with classroom feedback that emphasizes the
importance of ensuring that all elements of a text marker are legible
and aesthetically pleasing. As suggested by Mr. Vinod, it is essential
to adjust the "i" in "Omori" to improve its clarity. Task 2(B)
Transition to the application of critical artwork, where creating
collateral and curating a cohesive Instagram profile are the primary
goals. I especially enjoyed the process of expanding the original text
markers for the collateral and creating them in Photoshop, which was
very rewarding.
Observations
Repeated word-marker sketches emphasize the importance of subtle details
in the design. For example, increasing the spacing of the "i" in "Omori"
can significantly improve its readability and balance. This proves how
small adjustments can have a huge impact on the overall design.
Exploring variations in text markup - black and white, white on black,
and palette apps - shows how important it is for logos to adapt to
different contexts while maintaining their identity. Adding an animated
GIF introduces a dynamic element that shows how movement can increase
brand engagement.
Preparing Instagram promotional materials requires ensuring visual
consistency and storytelling across all nine pages of your profile. This
process highlights how important it is to maintain consistency in color,
typography, and layout when translating a design into a digital brand.
Findings
During these two assignments I learned about the need to be consistent
across all versions of the text markers and promotional materials, which
highlighted the importance of consistency in creating a brand identity.
I've also learned that starting with a rough draft and iterating over
time tends to produce better results than trying to be perfect from the
start.
In addition, prioritizing elements and deciding on a design focus is
essential to maintaining quality and progress.
FURTHER READING
Fig.6.1 Typography Referenced by Jason Tselentis, Allan Haley,
Richard Poulin, Tony Seddon, Gerry Leonidas, Ina Saltz, Kathryn Henderson,
Tyler Alterman
Type History and Timeline
Type Design and Development
This section examines the artistry and methodology behind creating typefaces, highlighting the integration of aesthetics, functionality, and technology
This section provides a detailed overview of typography’s evolution, from
its ancient beginnings to contemporary developments:
Fig.6.2 Greek lapidary letters and Roman monumental capitals
Ancient and Classical Periods
· Greek Lapidary Letters (5th Century BCE): The foundation of Western
letterforms, adapted from the Phoenician alphabet, establishing structured
shapes for carving in stone.
· Roman Innovations (1st Century BCE): Roman monumental capitals became
the cornerstone of Western type design and the precursor of serif
typefaces.
Medieval and Renaissance Contributions
· Carolingian Minuscule (8th–11th Centuries CE): Standardized lowercase
alphabets introduced under Charlemagne’s rule, improving readability and
uniformity.
· Gutenberg’s Printing Revolution (15th Century): Johannes Gutenberg's
movable type and the Gutenberg Bible marked a turning point, enabling mass
production of texts and spreading literacy.
· Influential Printers: Nicolas Jenson popularized Roman-style typefaces,
while Aldus Manutius introduced italics and compact books for scholarly
use.
Advances in the 16th to 19th Centuries
· Garamond (16th Century): Innovated Roman and italic designs, setting a
Renaissance standard.
· Baskerville and Bodoni (18th Century): Transitioned type from old-style
serifs to more modern and refined forms with high contrast and geometric
precision.
· Industrial Revolution: Brought sans-serif fonts like Caslon IV's work
and bold advertising typefaces such as Clarendon.
20th Century to the Digital Age
· Geometric and Humanist Sans-Serifs: Designers like Paul Renner (Futura)
and Eric Gill (Gill Sans) modernized type with clean, functional forms.
· Digital Typography: Innovations like Helvetica and Univers became
ubiquitous. The advent of digital tools revolutionized type design, with
OpenType and variable fonts offering flexibility.
Type Design and Development
This section examines the artistry and methodology behind creating typefaces, highlighting the integration of aesthetics, functionality, and technology
Design Philosophy
· Type design balances visual appeal with usability, ensuring that
typefaces are legible, scalable, and suitable for diverse applications.
Fig.6.3 A detail from one of the many sketches in the development of
Antonio Cavedoni’s Enquire.
· The focus extends to harmonizing letters in a typeface to achieve
consistency and rhythm when used in text.
Historical Techniques and Tools
· Handcrafted Beginnings: Early type involved manual punch-cutting and
metal casting.
· Mechanical and Photographic Innovations: The Industrial Revolution
introduced tools for mass production. By the mid-20th century,
phototypesetting enabled more precise control.
Fig.6.4 In Eben Sorkin’s Arrotino, the baseline outstrokes of
the a and e are similar but not identical
· Digital Transformation: Modern tools like Glyphs, FontLab, and Adobe
Illustrator have streamlined the type design process, allowing greater
creativity and efficiency.
Classification and Styles
Fig.6.5 Emilie Rigaud’s Coline
（ Emilie Rigaud’s Coline combines a relatively restrained regular and
bold, with an informal upright style, an upright italic with an
associated light version, and an extra bold that pushes the style to its
extreme. ）
Typefaces are categorized based on design principles, such as serif,
sans-serif, script, and decorative styles. Designers draw inspiration from
historical models, modern aesthetics, and cultural influences.
Contemporary Advances
· OpenType Features: Enable alternate characters, ligatures, and
multi-script support within a single file.
· Variable Fonts: Allow users to adjust type properties like weight,
width, and slant dynamically, improving adaptability across media.
Collaboration and Market Trends
· Collaboration between designers, foundries, and users has increased.
Cultural relevance, branding needs, and digital interfaces are key
considerations in modern type design.
· The democratization of type creation has led to an explosion of new
fonts, catering to various needs, from corporate branding to creative
expression.
Type design today is a fusion of art and technology, adapting to evolving
communication landscapes while maintaining a deep respect for its
historical roots.
Comments
Post a Comment