Advanced Typography | Task 2 : Key Artwork & Collateral
15/5/2024- 16/6/2024 / Week 4 - Week 8
Kerly Ooi / 0358726
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 02 / Key Artwork & Collateral
LECTURES
Lecture 05 : AdTypo_5_Perception & Organisation
Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content.
Contrast
There are several methods in typography to create contrast. The image below is devised by Rudi Ruegg. They are self-explanatory.
Fig 1.1 , Week 5
Dair defines seven sorts of contrast, which Rudi Ruegg has also addressed using other terminology.
1. Contrast / Size
A contrast of size provides a point to which the reader's attention is drawn. For example, if you have a big letter and a small letter you will obviously see the big letter first before the small.
Fig 1.2 Example of Contrast/ Size , Week 5
2. Contrast / Weight
Weight describes how bold type can stand out in the middle of lighter type of the same style. Other than then using bold, using rules, spot, squares is also provide a "heavy area" for a powerful point of visual attraction or emphasis, therefore not only types of varying weight.
Fig 1.3 Example of Contrast/ Weight , Week 5
3. Contrast / Form
Contrast of form is the distinction between a capital letter and its lowercase equivalent, or a roman letter and its italic variant, condensed and expanded versions of typeface are also included under the contrast of form.
Fig 1.4 Example of Contrast/ Form , Week 5
4. Contrast / Structure
Structure means the different letterforms of different kinds of typefaces. For exp. a monoline sans serif and a traditional serif, or an italic and a blackletter.
Fig 1.5 Example of Contrast/ Structure , Week 5
5. Contrast / Texture
Texture is created by combining contrasts in size, weight, shape, and structure in a block of text. Texture is the overall appearance of type lines, both up close and at a distance, and is determined by the letterforms and their arrangement.
Fig 1.6 Example of Contrast/ Texture , Week 5
Fig 1.7 Examples of Contrast & Texture poster , Week 5
6. Contrast / Direction
Directional contrast is created by combining vertical, horizontal, and angled components. Simply shifting one word sideways may drastically change a layout. Text blocks have both vertical and horizontal orientations, and combining broad blocks with tall columns increases contrast.
Fig 1.8 Examples of Contrast / Direction , Week 5
7. Contrast / Colour
The usage of colour is advised, as a second hue is generally less dramatic in values than plain black and white.
Fig 1.9 Examples of Contrast / Colour , Week 5
Form
Form is the overall look of the elements in a typographic composition. It affects visual impact and first impressions. Good typographic form is visually attractive, directs the eye, engages the intellect, and is memorable.
Fig 1.10 Examples of , Week 5
Typography, derived from the Greek terms for "form" and "writing," emphasises writing with a great eye for form. It has two primary functions: expressing a topic and doing it graphically. Type as a form emphasises the distinctive qualities of letterforms and portrays them abstractly.
Fig 1.11 Examples of form , Week 5
Fig 1.12 Great examples of how form & communication come together , Week 5
Organisation / Gestalt : Perceptual Organisation / Groupings
Gestalt theory emphasises the idea that the whole is greater than its parts. Each component in design, particularly in typographic layouts, may perform well on its own, but it is the overall visual composition that is important.
- Law of Similarity
- Law of Proximity
- Law of Closure
- Law of Continuation
- Law of Symmetry
- Law of Simplicity (Praganz)
Fig 1.13 Gestalt Theory , Week 5
States that elements that are similar to each other tend to be perceived as a unified group
2. Law of Proximity
States that elements that are close together tend to be perceived as a unified group.
3. Law of Closure
Refers to the mind's ability to see complete figures or forms even when an image is inconsistent. If something is partially hidden by other items, or if some of the information required to build a full image in our thoughts is missing.
Fig 1.14 Example of Closure , Week 5
4. Law of (Good) Continuation
Says that human tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect.
Fig 1.15 Example of Continuation , Week 5
5. Law of Symmetry
States that when humans perceive objects, they tend to see them as symmetrical shapes that form around their center.
Fig 1.16 Example of Symmetry , Week 5
6. Law of Praganz
Sometimes known as the law of simplicity, when humans are presented with a complex or ambiguous objects, our brains will make them as simple as possible.
INSTRUCTIONS
TASKS
Task 2A - Key Artwork
In this task, we were to design artwork consisting of our name, or more particularly, a wordmark. To create artwork that represented ourselves, we had to use our first name or a pseudonym. It also has to be done effectively, without being excessively complicated or unclear.
Mindmap :
Fig 3.1 Mindmap , Week 4
Sketches :
Fig 3.2 Sketches, Week 4 & Week 5
Digitised version:
Fig 3.3 Digitised version, Week 6
Following the feedback session given by Mr. Vinod, He asked me to make some changes to the lightning word mark. Below are the progression towards my final word mark.
Fig 3.4 Progress towards my final word mark , Week 6
The artwork is shown in different sizes to check if the wordmark remains identifiable when the size is reduced.
Fig 3.5 My Artwork Size Comparison , Week 6
Next, I needed to choose a colour for the wordmark. I had no clue where I might even begin with a colour palette, so I decided to try out two websites called Colour Hunt & Coolors to experiment with different colour palettes on these two websites.
Fig 3.6 , Week 6
Chosen Colour Palette :
Fig 3.7 , Week 6
Final Outcome : TASK 2A
Fig 3.8 Final Key Artwork - Black on White , Week 7
Fig 3.9 Final Key Artwork - White on Black , Week 7
Fig 3.10 Final Key Artwork - Colour Palette , Week 7
Fig 3.11 Wordmark in actual colour on the lightest shade , Week 7
Fig 3.12 Wordmark in the lightest shade on the darkest shade , Week 7
Fig 3.13 Final Task 2A (PDF) , Week 7
Task 2B - Collateral
In the following task, we must use the wordmark from task 2A to create a animated key artwork and an Instagram page that promotes our brand's identity, as well as the collateral that we will create. We must create three pieces of collateral that expand our wordmark through patterns, keywords, images, and the mark itself. These designs will then be posted on Instagram as a "Instagram Puzzle" to promote our brand.
Animated Key Artwork :
Using Adobe Illustrator & Photoshop
First, I began creating animated artboards with Adobe Illustrator. The animation contains the process of creating the key artwork and the colour palette I used for the artwork.
Fig 3.14 , Week 7
Then, I export to them into JPEG and import them into Adobe Photoshop to make the Animation GIF.
Fig 3.15 , Week 7
Fig 3.16 Animation GIF , Week 7
Using Adobe After Effects
Fig 3.17 , Week 7
Fig 3.18 , Week 7
Final Animated Key Artwork
Fig 3.19 , Week 7
Self-portrait :
Fig 3.20 , Week 7
Collateral and mockups :
The design progress :
Fig 3.21 , Week 7
I found all of the product mockups on MockupTree and Unblast . I chose tote bags, fabric wristband and sports water bottle as collateral products. As a result, I downloaded the PSD files for each item that are offered on the website.
Fig 3.22 , Week 7
I tried my design on different products to see the outcome and how it is visualise as in the colour, contrast and how well the design goes on each products.
Fig 3.23 , Week 7
Attempt #1 : Instagram layout
Fig 3.24 , Week 7
Attempt #2 : Instagram layout
Fig 3.25 , Week 7
Attempt #3 : Instagram layout
Fig 3.26 , Week 7
Attempt #4 : Instagram layout
Fig 3.27 , Week 7
Final : Instagram layout
Fig 3.28 , Week 7
Final Outcome : TASK 2B
GIF 3.29 Final Animated Key Artwork , Week 8
Fig 3.30 Final Collateral 1- Tote bag , Week 8
Fig 3.31 Final Collateral 2- Sports Water Bottle , Week 8
Fig 3.32 Final Collateral 3- Fabric wristband , Week 8
Fig 3.34 Final Task 2B (PDF) , Week 8
FEEDBACK
Week 5
Exercises :
General feedback : Make sure readability is an important aspect of your artwork and to also make sure that the main artwork reflects who you are, not just because you enjoy it. The thickness of the letters should be constant. Don't rely too much on graphic elements, and ensure that the concept you come up with conveys the same impression to others.
Week 6
Exercises :
General feedback : Print the logo in given format so its easier to spot the errors.
Specific feedback : For the letters KRLY, K&R letter looks fine, make changes to letter L & Y ( the lightning on the letter L & Y does not work as it is too much going on, make it simple. After making adjustment, I am good to go with the finalised letters.
Week 7
Exercises :
General feedback : Mr Vinod suggested us to look through a website called "Pentagram" to get inspiration so that it will be easier for us when designing the Instagram collage.
REFLECTIONS
Experience
When working on these two tasks, I had a lot of fun expressing my word mark through collateral. This work seemed more significant than the others because it involved developing our identity and marketing our brand through collaterals. While I struggled at first to come up with a concept for my brand, I ended up like how it came out. My initial design was obviously lacking, but I ended up designing an improve version of my revision that I believe better suits my persona. Both of these tasks were by far the most enjoyable I had when creating something.
Observation
While viewing previous student's work, I saw that some students experimented with different colours or stuck to a specific colour palette. Some students picked a simple colour palette, while others chose something more varied, making it appear fascinating but also unpleasant to look at. It made me realise how significant the colours I chose were, so while designing my own colour scheme, I had to make sure the colours I chose weren't too complicated or distracting to the eyes. Another thing I saw from previous students' work is that the majority of them chose a very straightforward approach to developing each panel and collateral while yet having creative designs. I took notice of this and aim not to use complicated patterns while creating my collateral.
Findings
I felt that these two tasks are about expanding your identification and creating a unique brand for yourself. Throughout this assignment, I've realised that it's always necessary to go deeply into what I want to achieve rather than thinking in a restricted manner. I've discovered that forcing myself to generate ideas in a short amount of time helps me to consider a wide range of design choices that I can elaborate on. Exploring new perspectives enables me to make more varied decisions.
FURTHER READING
Fig 4.1 The Vignelli Canon written by Massimo Vignelli
The book I decided to read this week is The Vignelli Canon.
Semantics
- the search for the meaning of whatever we have to design
- Could be a search for more information about the Company, the Product, the Market Position of the subject, the Composition, its Destination, the final user, or indeed, about the real meaning of the subject and its semantic roots.
- will provide the real basis for the correct inception of projects, regardless of what they may be.
- in design, means to understand the subject in all its aspects; to relate the subject to the sender and the receiver in such a way that it makes sense to both.
Fig 4.2 Example of Semantics
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