Advanced Typography Task 2: Key Artwork and Collateral

19.5.2024 - 21.6.2024 (Week 5 - Week 9)

Lew Guo Ying / 0365721 / Bachelor of Design in Creative Media

Advanced Typography

Task 2: Key Artwork and Collateral

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Jumplink

1. Lecturer
1.1 Lecture 4: Designing Type
1.2 Lecturer 5: Perception & Organisation

2. Instructions
2.1 Final Task 2a Key Artwork
2.2 Submission Task 2a and 2b

3. Feedback

4. Reflections

5. Further Reading

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Lecturer

Lecturer 4: Designing Type

Fig1.1 Designing Type

Reasons for Designing a Typeface
The reasons for designing a typeface are rooted in social responsibility to improve legibility and artistic expression. 

Adrian Frutiger and Typeface Frutiger
Adrian Frutiger, a renowned 20th-century Swiss graphic designer, contributed significantly to typography with designs like Univers and Frutiger. The Frutiger typeface, created in 1975 for Charles de Gaulle International Airport, aimed to be clean, distinctive, and legible from both close-up and far away. It was designed to be recognizable in poor light conditions and when readers moved quickly past signs, ensuring high legibility. 

Matthew Carter and Verdana
Matthew Carter, son of Harry Carter, a Royal Designer for Industry, is a British type designer known for addressing technical challenges in early computer fonts. He designed Verdana for Microsoft with the purpose of being extremely legible even at very small sizes. The font features wide side-bearings, large x-heights, and clear distinctions between characters, enhancing readability on screens. 

Bell Gothic by Chauncey H. Griffith
AT&T commissioned a new typeface for its telephone directories, resulting in Bell Gothic by Chauncey H. Griffith in 1938. The purpose was to address technical and visual problems in phone book typefaces, emphasizing efficiency and legibility under poor printing conditions. Bell Gothic's simplified forms, open counters, and large x-height were later adapted into Bell Centennial for AT&T's centennial in 1982. 

Typeface Design Process

1. Research: Understanding type history, anatomy, and conventions is crucial. This includes knowing terminology, side-bearing, metrics, and hinting. Determine the type's purpose and applications, examine existing fonts for inspiration, ideas, references, constraints, and usage patterns. 
2. Sketching: Traditional tools like brushes, pens, ink, and paper are used for initial sketches, which are then digitized. Digital tools like Wacom tablets allow for direct input into software, providing quicker and more consistent results but may impact natural hand movement. 
3. Digitization: Professional software such as FontLab and Glyphs App is used to digitize designs. Adobe Illustrator can be used for creating letterforms, which are then imported into specialized font apps. Attention to whole form and counter form is crucial for readability. 
4. Testing: Testing is key in the design process, allowing for refinement and correction of typefaces. Prototyping provides feedback on readability and legibility, which are crucial for text types. Display types prioritize form expression. 
5. Deployment: Post-deployment issues may arise, requiring ongoing revisions. Rigorous testing during the design process helps minimize these issues. 

Proportional Grid
A proportional grid consists of squares divided into four equal parts, with a rectangle within the square sized at three-quarters of the square and positioned in the center. This grid helps construct letterforms and is particularly useful for beginners. 

Classification by Form and Construction
The 26 alphabet characters can be grouped based on form and construction, with separate groups for capital and lowercase letters. Key considerations in typeface design include ensuring optical correction so horizontal strokes don't appear too thin, maintaining equal spacing between letters, and ensuring visual balance, known as "fitting" the type. 

Considerations in Typeface Creation
Typeface creation involves many considerations that cannot be fully covered in a single lecture. Designers are motivated by love or interest and must understand requirements and guidelines to succeed. The design process involves creating a typeface based on a brief, completing tasks, and meeting deadlines, requiring significant time and effort. Only those passionate about design will successfully complete the work.

Lecture 5: Perception & Organisation

Fig1.2 Perception and Organisation

Perception in Typography

Perception refers to how something is regarded, understood, or interpreted. In typography, perception involves the visual navigation and interpretation of content, which can be textual, visual, graphical, or in color, with a primary focus on typography. 

Contrast in Typography 

Contrast is the concept of making design elements stand out clearly and unambiguously. Carl Dair adds texture and direction to the mix, identifying seven kinds of contrast: size, weight, form, structure, texture, direction, and color. 

1. Size Contrast: Draws the reader's attention. For example, a big letter vs. a small letter, where the big letter attracts first. Commonly used in titles or headings significantly larger than body text. 
2. Weight Contrast: Bold type stands out in light type of the same style. Other methods include using rules, spots, and squares to provide a "heavy area" for attention or emphasis. 
3. Form Contrast: Distinction between capital and lowercase letters, Roman and italic letters, and condensed and expanded versions of typefaces. 
4. Structure Contrast: Different letterforms of various typefaces, such as mono-line sans serif vs. traditional serif or italic vs. blackletter. 
5. Texture Contrast: Combines contrasts of size, weight, form, structure, and color to create texture on a page, similar to how a woven fabric has light and heavy threads. 
6. Direction Contrast: Opposition between vertical and horizontal, and angles in between. Text lines can be vertical or horizontal, and combining different directions can create contrast. 
7. Color Contrast: A second color often has more emphasis than plain black on white. It's important to decide which element needs emphasis and pay attention to the tonal values of the colors used. 

Form in Typography 

Form refers to the overall look and feel of elements in the composition, helping to create visual impact and a strong first impression. It should be visually intriguing, guide the eyes, and contribute to making the design memorable. 

Origin and Functions of Typography 

Typography is derived from the Greek words "typos" (form) and "graphis" (writing), meaning to write in accordance with form. Typography represents a concept in a visual form. Displaying Type as Form: Provides a sense of letterforms' unique characteristics and offers an abstract presentation. The interplay of meaning and form brings balanced harmony in function and expression. Manipulated typefaces may no longer read as letters due to distortion, texture, enlargement, and extrusion into space. 

Organization and Gestalt Principles 

Gestalt, a German word meaning "placed" or "put together," refers to the study of perception and maintaining meaningful perception. Gestalt principles are visual laws for perceptual grouping under various conditions. 

1. Law of Similarity: Elements similar to each other are perceived as a unified group, based on features like color, orientation, or motion. 
2. Law of Proximity: Elements close to each other are perceived as a unified group, whereas elements farther apart are less likely to be grouped together. 
3. Law of Closure: We tend to see complete figures/forms even if they are incomplete or partially hidden, filling in missing information to create a complete picture. 
4. Law of (Good) Continuation: Objects are perceived as distinct, singular, and uninterrupted even when they intersect. Alignment of objects/forms is important for this principle. 
5. Law of Symmetry: Symmetrical elements are perceived as part of a unified group. Symmetrical designs are seen as stable and harmonious, helping organize visual elements into coherent shapes and patterns. 
6. Law of Pragnanz (Simplicity): When presented with complex or ambiguous images, people interpret them in the simplest form possible. The brain prefers to see simple, symmetrical shapes and patterns over complex ones, aiding in efficient visual information processing.

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Instructions

MIB for Advanced Typography

In this task, it is necessary to use a name that contains at least 4 English letters and is readable to design as a brand. The design must ensure readability, elegance, balance, functionality, and ease of communication. It should also be capable of being broken down into shapes to form patterns, expanding its visual identity. This work will be utilized in Task 2.


Task 1 Key Artwork
I want to use my name, YING, with these four letters, and I have chosen a simple style to express it. Therefore, I tried to combine them together so i make a sketch using ipad procreate.

Fig1.9 First Sketch, Week 5 (15.5.23)

I sketched many versions, and my favorites are the ones in the top left, top right, and bottom left corners. They are all logos that combine the letters YING to express a minimalist design. Of course, I also tried more patterned designs, but they didn't achieve the effect I wanted.

Fig1.10 Digitalisation 1, Week 5 (15.5.23)

Keyword are ambivalent, tactful but blunt. I want to show the dilemma od conflicting choices. Wanting to be straightforward, yet needing to be considerate of others' feelings, is like how Y, I, N are all straight lines, but G has to curve. 

The second image is my favourite also, combination good and also the outline.

Fig1.11 Digitalisation 2, Week 5 (15.5.23)

Keyword are minimalist and straightforward. Expressing YING simple and directly, using similar shapes for simplicity.

I like first image because it look more simple, and combine the y and g. It also easy for look and balance.

Fig1.12 Digitalisation 3, Week 5 (15.5.23)

Keyword are upright and perspective-shifting. Being impartial and understanding the whole picture with integrity. Having an open-minded approach, shifting perspectives to see issues from different angles, without overlokking the details.


Unfortunately, Vinod didn't like any of them. He said they were hard to understand and lacked readability, so I was forced to redesign. I started sketching and digitalizing again, but he still didn't like any of them, even though I thought they were quite good. In the end, I had to settle for a very simple block font, and he also asked me to incorporate a casual brush stroke into it.

Fig1.13 Sketch V2, Week 6 (22.5.23)

Fig1.13 Digitalization V2, Week 6 (22.5.23)

Through relentless effort, I created the design according to Vinod's specifications. Of course, I also thought about keywords to persuade Vinod. Initially, I used lines to connect the letters YING to highlight my keywords of personality: sociable and connective. The square exterior represented traditional, upright, rectitude, and following rules. 

However, he felt it was too complex and asked me to retain the square exterior and the casual inner style. He wanted a brush stroke drawn casually in the middle. But he found it too haphazard, so I kept modifying it until it met his approval.

Fig1.14 Product Key Artwork, Week 6 (22.5.23)

The final product was made, and it needed to be framed in sizes of 175mm x 175mm and 15mm x 15mm. It was printed out to see if he would be satisfied.

Fig1.15 Color Palette, Week 7 (29.5.23)

The next step is to find a color palette. I prefer a combination of green and gold, as it looks more elegant and noble. So, I went through a series of color swatches and finally selected these two. I tried to pair them, but the results were not ideal. Therefore, I continued to search for a more satisfying combination.

Fig1.15 Final Color Palette, Week 7 (5.6.23)

I eventually selected this color palette, which includes a deep green that I like for its understated elegance. The orange and yellow add vibrancy, creating contrast between the background and the interior of my design, further showcasing the personality keywords.

Fig1.16 Color palette and wordmark, Week 7 (5.6.23)

For aesthetic purposes, I experimented with various combinations to find the most pleasing colors. My final decision was to use orange for the interior paired with a deep green background. Of course, a light blue background combined with deep green also turned out to be a fantastic combination.

Fig1.17 Final Submission of Task 1, Week 7 (5.6.23)

Task 2 Collateral
For this task, use the design from Task 1 to create the final product. First, create two expansions, which can be text or stripe patterns. Next, come up with three types of collateral related to yourself to convey the message you want to communicate to the customer and the brand's intended message. Finally, combine everything into an Instagram post.

Fig2.17 Combination of YING, Week 7(5.6.23)

Initially, I simply wanted to use "YING" to create a striped pattern, but I found it difficult to arrange the four letters evenly. After trying various methods without success, I gave up on using this as one of my final products.

Fig2.18 Combination of YING, Week 7(5.6.23)

I started experimenting with using one of the letters to repeatedly form a pattern. Among the letters in "YING," I found "Y" to be the most distinctive, so I decided to use "Y." I combined black and white "Y"s and integrated brushstroke textures in the middle. I selected a few combinations I liked and paired them with my chosen color palette.

Fig2.19 Collateral V1, Week 7(5.6.23)

I applied the combined patterns to badminton bags, rackets, clothing, and shoes. In addition to using the direct "YING" and the created patterns, I paired them with orange and dark green.

Fig2.20 Photo, Week 7(5.6.23)

To highlight my photos, I used "YING" as the background and applied a blur effect to make the photos stand out. I also placed the patterns on the clothing to avoid monotony.

Fig2.21 IG post, Week 7(5.6.23)

After completing everything, I arranged the designs into a nine-grid layout for an Instagram post. However, in Vinod's feedback, he mentioned that my color combinations for the text did not have enough contrast and tended to blend with the background, so they needed to be changed. He also said that my design felt uncomfortable to him because the pattern formed by the "Y" resembled Roman frescoes, which looked eerie. Additionally, while I chose vibrant and calm colors, the "Y" pattern had an unsettling Medusa snake-head feel inside.

Fig2.22 Pattern, Week 8(12.6.23)

To avoid the snake-head appearance, I changed the pattern combination. I felt my previous approach was quite good, aiming to create a 3D effect. I paired this with orange and dark green.

Fig2.23 Pattern, Week 8(12.6.23)

Fig2.24 Photo V2, Week 8(12.6.23)

For the previous photos, Vinod mentioned they were not taken outside the classroom, so I changed the photos and reused the design content from last time.

Fig2.25 Final V2, Week 8(12.6.23)

Fig2.26 IG post, Week 8(12.6.23)

After making all the necessary changes, I created an Instagram post with all the designs.

 

Fig2.27 Animation GIF, Week 8(12.6.23)

The animation was a bit lengthy, so I used a combination of black and white squares, merging them to create more squares. I also added some special effects to enhance it.

Fig2.28 Final V2, Week 8(12.6.23)

Submission

Task 2A Key Artwork

Fig6.1 Black wordmark on white background

Fig6.2 White wordmark on balck background

Fig6.3 Color Palette

Fig6.4 Wordmark in actual color on lightest shade of color palette

Fig6.5 Wordmark in the lightest shade of colour palette on darkest of colour palette

 

Animation

Task 2B Collateral 

Fig6.6 Collateral 1 Sport Equipment

Fig6.7 Collateral 2 Shoes

Fig6.8 Collateral 3 Shirt

Fig6.9 Ig Screengrab

Instagram Link: https://www.instagram.com/ying_5721/


Task 2a and 2b 

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Feedback

Week 5

General Feedback: Create artwork using names that have at least four letters and are readable. Incorporate keywords and consider what message you want to convey to the client. Avoid conveying any negative thoughts or messages.

Week 6

General Feedback: Ensure the wordmark is distinctive and readable, with a rational design explanation.Key features and legibility must remain intact when shrunk; thin wordmarks may lose presence.Print fonts in 175x175mm and 15x15mm squares.Sharp end strokes need a cut to avoid a never-ending feel.


Specific Feedback: The current design lacks readability and needs to be redesigned. Consider what the keyword is. For the revised version, you can add casual brush strokes within a square frame to highlight duality.

Week 7
 

General Feedback: The wordmark should not be repeatedly used in every artwork, as it will appear monotonous. The same applies to patterns and expansions; monotony will set in. Ensure the wordmark and elements used are clear and easily recognizable. The chosen promotional materials should be purposeful and coherent, with a simple background to avoid distraction. The use of colors should be reasonable and simple.


Specific Feedback: The use of yellow and orange colors can be confusing; contrasting colors should be used instead. The pattern looks somewhat unsettling, giving an uncomfortable feeling reminiscent of Roman murals and the head of Medusa.

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Reflection

When designing a brand, I need to consider numerous factors. It involves thinking about how to effectively communicate with the client, determining the message's placement and how best to convey it using elements like colors and text. 

Moreover, selecting the right colors involves ensuring they complement the brand's logo and text while aligning with the intended message. However, I often discover that my preferences differ significantly from those of my instructor. They are meticulous and prioritize readability, which sometimes makes it challenging to meet their expectations. 

Nevertheless, through continual refinement, I eventually achieve results that satisfy me. It's essential to follow my own preferences while also incorporating feedback from my instructor to create the success I envision.

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Further Reading

Fig3.1 Introduction

• Publisher requested to explore the meaning of the publication.
• Recognized it could be useful for understanding typography in Graphic Design.
• The book reveals self-imposed guidelines.
• Noted a lack of basic typographic principles in young designers during teaching.
• Aims to share professional knowledge to improve design skills.
• Creativity needs knowledge to perform well.
• The book is not meant to stifle creativity or impose rigid rules.
• Good design is hindered by lack of knowledge, not by formulas.
• Learning typography from various international practitioners enriched the author.
• Hope the book provides enrichment and reaffirms guidelines for designers.

Fig3.2 Syntactics

• Three Aspects of Design: Semantic, Syntactic, Pragmatic

Semantics

• Search for meaning in design.
• Research the subject's history and context.
• Investigate company, product, market, competition, and final user.
• Understand context and essential meanings for better design.
• Use intuition and diagnostic ability to define the problem.
• Semantics are crucial for a meaningful design process.
• Aim to design with meaning, avoiding arbitrary or meaningless elements.
• Avoid vulgar or crude designs which degrade the environment. 

Syntactic

• Focus on details and proper use of design grammar.
• Components include structure, grid, typefaces, text, headlines, and illustrations.
• Ensure consistency in how elements relate to each other.
• Use tools like grids to achieve syntactical consistency in design.

Fig3.3 Pragmatics

Communication

• Design must be understood to be effective.
• Semantically correct and syntactically consistent design is useless if not understood.
• Clarity in design is crucial; it should stand on its own without explanation.
• Final design clarity reflects clarity during the design phase.
• Clear intent leads to clear results; confused design reveals a confused mind. 

Values in Design

• Love complexity, hate complications.
• Prefer forceful and intellectually elegant design.
• Design should transcend fashion and fads, aiming for timelessness.
• Reject culture of obsolescence; design things to last.
• Approach design with these values, regardless of project type.

Fig3.4 Discipline

Attention to Detail

• Requires discipline; no room for sloppiness, carelessness, or procrastination.
• Every detail matters as the end result is the sum of all details.
• Quality is absolute; without it, time is wasted.
• Commitment to meticulous effort is essential in the creative process.
• Discipline is crucial for good design, regardless of style. 

Discipline

• Set of self-imposed rules and parameters for operation.
• Provides tools for consistent design from start to finish.
• Attitude that ensures control and continuity of creative work.
• Design without discipline is anarchic and irresponsible.

Fig3.5 Appropriateness

Appropriateness

• Defined by understanding the roots and specifics of the design problem.
• Prevents wrong directions and solutions.
• Guides choice of media, materials, scale, expression, color, and texture.
• Gains client approval by solving their problem effectively.
• Transcends style; the solution must be appropriate regardless of style.
• Requires listening to the nature of the design rather than forcing arbitrary constraints.
• Sometimes other rules must be followed for continuity.
• Fundamental principle of design.
• In post-modern times, "appropriation" means borrowing and transforming elements by placing them in different contexts.

Fig3.6 Ambiguity

Positive Interpretation of Ambiguity

• Seen as a plurality of meanings, not vagueness.
• Allows designs to be interpreted in multiple, complementary ways.
• Enhances expression and adds depth to the design.
• Valued for enriching the subject. 

Caution with Ambiguity

• Must be well-measured to avoid negative outcomes.
• Contradiction can sometimes enhance ambiguity but often indicates lack of control.
• Both ambiguity and contradiction can either enrich or harm a project.
• Use with great caution.

Fig3.7 Design is One

Early Experience

• First worked at Castiglioni Architects in Milano at age 16 as a draftsman.
• The office was involved in diverse design and architecture projects.
• Adolph Loos's dictum: an Architect should design everything "from the spoon to the city." 

Projects

• Iconic radio, silver flatware, camping furniture, witty stools, industrial bookshelves, houses, museum. 
• Later, designed restaurants, trade shows, exhibitions, furniture, and more. Icons of Italian Design. 

Learning and Insights

• Importance of mastering design discipline to design anything. 
• Design is a unified discipline applicable to many subjects, beyond any specific style. 
• Design requires discipline to be expressed correctly. 

Personal Approach

• Diversified design practice across various materials and fields. 
• Continuous pursuit of opportunities to test interaction between intuition, knowledge, passion, curiosity, desire, and success.