Advanced Typography--Task 2 Key Artwork and Collateral

on


21/10/2024--17/11/2024 (W5-W8)

QIULIHUA/0365036

GCD 61004/Advanced Typography/Bachelor of     

Design (Honours)in Creative Media/Taylor's University

Task 2 Key Artwork & Collateral

LIST

LECTURES

INSTRUCTIONS 

EXERCISE

FEEDBACK

REFLECTION

FURTHER READINGS

    INSTRUCTURE


    LECTURES

    AdTypo_5_PerceptionAndOrganisation

    Perception & Organisation:

    Perception is “the way in which something is regarded, understoodor interpreted".

    Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content. 


    Fig 1.0 contrast(Rudi Ruegg)

    Contrast
    • Carl Dair on the other hand adds a two more principles into the mix;texture and direction “to make design work and meaning pop out -clearly and unambiguously, and with flair.
    • Dair posits 7 kinds of contrast (most of which has already beencovered by Rudi Reugg albeit using different terms): 1. Size, 2.weiqht, 3.contrast ofform, 4.contrast ofstructure, 5. contrast ottexture,6 contrast ofcolour and 7,contrast ofdirection.
    Size
    A contrast of size provides a point to which the reader's attention isdrawn. For example if you have a big letter and a small letter you willobviously see the big letter first before the small. The most commonuse of size is in making a title or heading noticeably bigger than thebody text.

    Fig 1.1 Size

    Weight
    Weight describes how bold type can stand out in the middle of lightertype of the same style. Other than then using bold, using rules, spot.squares is also provide a “heavy area" for a powerful point of visualattraction or emphasis, therefore not only types of varying weight.

    Fig 1.2 weight

    Structure
    Structure means the different letterforms of different kinds oftypefaces.For example, a monoline sans serif and a traditional serif.or an italic and a blackletter,

    Fig 1.3 Structure

    Texture

    By putting together the contrasts of size, weight, form, and structure.and applying them to a block of text on a page, you come to thecontrast of texture. Texture refers to the way the lines of type look asa whole up close and from a distance. This depends partly on theletterforms themselves and partly on how they're arranged

    Fig 1.4 Texture

    Colour

    The use of color is suggested that a second color is often lessemphatic in values than plain black on white. Therefore it is importantto qive thought to which element needs to be emphasized and to payattention to the tonal values of the colors that are used


    Fig 1.5 Colour

    Form

    • For refers to the overall look and feel of the elements that make upthe typographic composition. lt is the part that plays a role in visualimpact and first impressions, A good form in typography tends to bevisually intriquing to the eye; it leads the eye from point to point, itentertains the mind and is most often memorable.
    • Originating from the Greek words “typos"(form) and “graphis(writing),typography means to write in accordance with form.Typography can be seen as having two functions:
    1. to represent a concept
    2. to do so in a visual form.

    Organisation 

    Gestalt

    Gestalt is a german word meaning the way a thing has been “placedor “put together". Gestalt Psychology is an attempt to understand thelaws behind the ability to acquire and maintain meaningfulperceptions.

    Fig 1.6 Gestalt


    Gestalt theory emphasizes that the whole of anything is greater thanits parts-this is based on the idea that we experience things asunified whole: nstead of breakina down thouahts and behavior totheir smallest elements, the gestalt psychologists believed that youmust look at the whole of experience.

    Organisation/Gestalt:

     Perceptual Organisation /Groupings

    1. Law of Similarity：The Law of Similarity is the gestalt grouping law that states thatelements that are similar to each other tend to be perceived as aunified group, Similarity can refer to any number of featuresincluding color, orientation, size, or indeed motion.
    2.  Law of Proximity：The Law of Proximity is the gestalt grouping law that states elementsthat are close together tend to be perceived as a unified group. Thisstraightforward law states that items close to each other tend to begrouped together, whereas items further apart are less likely to begrouped together.
    3. Law of Closure：The Law of Closure refers to the mind's tendency to see completefigures or forms even if a picture is incomplete, partially hidden byother objects, or if part of the information needed to make a completepicture in our minds is missing
    4. Law of Continuation：Law of (Good) Continuation holds that humans tend to perceive eachof two or more obiects as different, singular, and uninterrupted objecteven when they intersect. The alignment of the objects or forms playsa major role for this principle to take effect. 
    5. Law of Symetry
    6. Law of Simplicity (Praganz)



    EXERCISE

    Task 2 (A) – Key Artwork

    Mind mapping / Inspirations

    Mind-map:

    First I made a mind map about myself

    I will use the "Xavier" to accomplish this task

     Fig 1.7 mind map ,WEEK 4

    Mood-board:

    For the first, I tried to use a more mysterious looking font style to make him show the mystery and holy spirit of the stars


    Fig 1.8 Font Reference,WEEK 4


    For the second, I look for something with a more regular, clean typeface and with a star pattern


    Fig 1.9 Font Reference,WEEK4

    Sketches ：


    Fig 2.0 Sketches,WEEK4

    I ended up choosing a fifth draft and digitizing it.

    Final digitized:

    Fig 2.1  Final digitized(JPEG),WEEK5

    Animated Key Artwork:

    I wanted to make my text logo glow like stars.

    I started to experiment wit

    h making the letters appear gradually. I thought about making them appear at different times and with different levels of brightness, so I adjusted the transparency of each letter to make it more layered.


    Final Animated Key Artwork:


    Final Animated Key Artwork , Week 5





    Color Applications

    For color palettes I use the Colour Hunt website to find color combinations that I like. Selecting multiple color palettes I put them together and compared the final results.


    Fig 2.2 Palette Exploration,WEEK 5

    Palette #3 is my favorite among all the choices. After designing the contrast of the three color palettes, Mr.viond suggested that I choose the one with white background in the #3 color palette, so I ended up using Palette #3.


    Task 2A Final Outcome:

                  Fig 2.4White wordmark on white background,WEEK5


    Fig 2.5 Black wordmark on black background,WEEK5
      

    Fig 2.6 Colour Palette,WEEK5


    Fig 2.7 Wordmark in actual colours on lightest shade of colour palette,WEEK5

    Fig 2.8 Wordmark in lightest shade of colour palette on darkest shade of colour palette,WEEK5

    Fig 2.9 Key Artwork Animation, Week 5

     

    Fig 3.0 Task 2A PDF Compilation



    Task 2(B) Key Artwork & Collateral :

    Collateral 1, 2, 3

    Instagram handle & link

    IG screen grab with good resolution. IG featuring 9 tiles (profile must feature a bio).

    *1024px x 1024px, 300ppi (each artwork).


    I chose the type of collateral based on my font logo design, and to better showcase the theme of the font logo design, I chose mockups of canvas bags, cups, and records.


    All mockups were done using Adobe Photoshop, with patterns and designs prepared using Illustrator layouts.


    Fig3.1 layout



    We also had to include a photo of ourselves, so I chose a photo of myself and added the patterned steel design of the model to it.

    • Deployment on Instagram

    At this stage, we just need to plan/schedule the feed:




    Final Task 2B : Collateral
    Collateral 1 - Record, Week 7

    Collateral 2 - Tote Bag, Week 7


    Collateral 3 - cup, Week 7



    Instagram link: Instagram



    Task 2 Outcome Compilation

    Fig 3.3 White wordmark on black background,week9




    Fig 3.4 Black wordmark on white background,week9



    Fig 3.5  Colour Palette,week 9


    Fig 3.6 Wordmark in actual colours on lightest shade of colour palette,WEEK9


    Fig3.7 Wordmark in lightest shade of colour palette on darkest shade of colour palette,WEEK9


    Fig3.8  Key Artwork Animation, Week 9



    Fig 3.9 Task 2A PDF Compilation



    Fig 4.0 Collateral 1 - Record, Week 9



    Fig 4.1 Collateral 2 - Tote Bag, Week 9


    Fig 4.2 Collateral 3 - cup, Week 9

    Fig 4.3 Instagram  Design Layout


    Fig 4.4  Task 2B PDF Compilation,Week 9




    FEEDBACK

    Week 5
    General Feedback: Mr Vinod gave us comments on our sketches and then guided us on how to proceed next!

    Specific Feedback: Need to further explore more different fonts to design the letters

    Week 6
    General Feedback: The digitisation of the key artwork was approved by Mr Vinod this week and I will be able to select and design three accessories.

    Specific feedback: Digitisation is good. Can proceed to next step.


    WEEK 7:
    General Feedback: During this week’s class, complete a creative product of our logo design and post it on Instagram for approval.

    Specific Feedback: The design is generally good, but move the logo design slightly to the middle of the sample and it can be formatted and posted on Instagram.

    REFLECTION

    Experience
    Overall, this design project was a great experience that allowed me to use my creativity and use what I learned to complete the design; from designing fonts to object presentations and applications, it provided me with new experiences and skills. However, I also encountered some obstacles during the creative process. When designing the logo animation, I spent more time, and I tried my best to adjust the effects and dynamics of each font. Although the final product was made, I was still not very satisfied, but I think it is also a good choice to try different software that I have never used before.

    Observations
    Iconic design elements may appear in different ways on billboards, posters or digital media.
    And through the repeated use of core visual symbols and colors, a strong brand association is established. High-contrast colors can better highlight elements and attract readers' attention. Instagram campaign materials require ensuring visual consistency and storytelling across all nine pages of the profile. High-contrast colors can better highlight elements and attract readers' attention. Let readers have a deeper connection with the content because of a certain symbol, theme or picture.


    Findings
    During the exercise, I realized that extracting and adapting the elements of the main visual to various application scenarios is an important skill. And it requires integration, the difficulty of harmoniously combining narrative, main image, and decorative elements. And it takes a lot of time to slowly adjust in the task. During the production process, I found that how to guide the audience's emotions and sight through design details is an area that needs to be studied in depth.
    FURTHER READINGS

    This book is co-written by multiple authors, including Allan Haley, Richard Poulin, Jason Tselentis, Tony Seddon, Gerry Leonidas, Ina Saltz, Kathryn Henderson, etc., and the content is highly authoritative.





    The historical contributions of Granjon fonts and related font designers are not only the aesthetic innovation of the fonts themselves, but also the technical innovation and optimization of font typesetting. These designs have promoted the evolution from manual printing to modern printing, and laid the aesthetic and functional foundation of font design. The evolution of fonts is not only a manifestation of art, but also a combination of technology, culture and innovation, which runs through the historical process of many centuries.

    John Baskerville

    Baskerville made improvements to printing technology, including the development of better printing presses, dark, high-quality inks, and smooth, calendered paper.
    His typefaces, with their high contrast and fine detail, are considered one of the foundations of modern typefaces. Although initially unpopular, it is now one of the most commonly used serif typefaces.



    Pierre Simon Fournier (1712-1768)
    • French printer and type designer whose work formed the basis for Giambattista Bodoni's type design.
    • Fournier's typefaces, such as Monotype Fournier and Barbou, and later Dwiggins Electra, all derive from his style.
    • His innovations in type proportions and weights were influential in later type design.


    William Caslon (1692-1766)
    • In 1734, Caslon's typeface debuted, based on the old Dutch style but with English touches, becoming the first great English typeface.
    • Caslon's typefaces were hailed as the "national typeface" of England, and became widely popular, setting the standard for serif typefaces.


    Giambattista Bodoni (1740-1813)
    • Bodoni's work is considered one of the most refined and elegant typefaces in history. He had ample time and resources to work on his designs, focusing only on projects of his own choosing.
    • Bodoni's typefaces evolved from the old style of Fournier to the modern style he created. He gradually perfected modern typeface design by adjusting individual letters of existing typefaces.
    • He was one of the most prolific type designers in history, creating hundreds of typeface styles. Statistics in 1840 show that he designed more than 25,000 typefaces and 50,000 typeface molds.


    Typeface design in the 18th century marked a transition from the old style to the modern style. Designers of this period not only made breakthroughs in typeface aesthetics, but also promoted major advances in printing technology. Their works remain classics today and laid the foundation for modern typography.

    18th century type design marks the transition from old styles to modern ones. Designers of this period not only made breakthroughs in type aesthetics, but also promoted significant advances in printing technology. Their works remain classics today and laid the foundation for modern typography.

    Type design and important figures in the mid-to-late 19th century

    Type design in the United States


                   RudolfKoch,1924




    Frederic Goudy (1865–1947)
    • One of the most influential and prolific type designers in the United States, he was self-taught and did not start designing typefaces until he was 30 years old.
    • He designed a wide variety of typefaces and was known for his unique personal style. Goudy emphasized the marketing of typefaces and created beautiful sample books and promotional materials, combining type design with marketing, setting a model for later type designers.
    • Many of Goudy's typeface designs are still widely used today.
    Morris Fuller Benton (1872–1948)
    • Referred to as the "Father of American Type Design", he was the main designer of the American Type Foundry (ATF) and was responsible for typeface development for more than 35 years.
    • He created a wide range of typefaces, including advertising fonts (such as Broadway, Tower, Wedding), sans serifs (such as Alternate Gothic, Franklin Gothic, News Gothic), and classic serifs (such as Century Oldstyle, Cheltenham, and Stymie).
    • Benton also designed a modern version of the Bodoni Replica typeface and the highly readable Century Schoolbook, which made significant improvements to the usability and readability of typefaces.
    • Under his leadership, ATF became the foundry with the most extensive range of typefaces in the world at the time.
    • Type Design in Germany
    Emil Rudolf Weiss (1875–1943)

    • A leading German typographer and designer who worked with the Bauer type foundry to design many classic typefaces.
    • Rudolf Koch (1876–1934)
    • Known as a calligrapher and educator, he worked with the German Klingspor type foundry.
    • Designed the famous sans-serif font Kabel, as well as the calligraphic fonts Locarno and Neuland, which were later expanded into larger series and are still used today.
    • Other works include Holla, Jessen, Marathon, and Wallau.
    Lucian Bernhard (1885–1972)

    • Bernhard was a character with a strong personality who rejected modern technology but was extremely creative and influential in type design. His design style was simple and practical, and influenced the development of modern advertising fonts.
    Paul Renner (1878–1956)

    • Renner's contribution is not mentioned in detail in this paragraph, but he was an important figure in modernist type design, and later sans-serif type design (such as Futura) was deeply influenced by him.
    In the mid-to-late 19th century, type design gradually shifted from traditional handmade styles to modernization and diversification. Gaudi and Benton in the United States focused on the commercial value and practicality of fonts, while German designers incorporated more calligraphy art and modernist styles. Pieces from this period are still in use today, demonstrating the designers’ innovative spirit and exceptional craftsmanship.

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