Advanced Typography - Task 2
13.9.2023-18.10.2023 (WEEK 3 - WEEK 8)
TAN YING YI / 0362425 / BACHELOR OF DESIGN (HONS) IN CREATIVE MEDIA
ADVANCED TYPOGRAPHY
TASK 2
LIST
LECTURES
INSTRUCTIONS
TASK 2
FEEDBACK
REFLECTIONS
FURTHER READING
LECTURES
AdTypo_4_Designing Type
General Process of Type Design
- Research
- Understand type history, type anatomy, type conventions, terminologies ...
- Determine the type's purpose or what it would be used for and what different applications it will be used
- Examine existing fonts that are presently being used for inspiration/ideas/reference/context/ usage pattern/etc - Sketching
Traditional/Digital - Digitization
Professional software: Fontlab and Glyphs
There are designers that also use Adobe Illustrator to design or craft the letterforms and then introduce it into the specialized font apps. This however is frowned upon by the purist. - Testing
The results of the testing is part of the process of refining and correcting aspects of the typeface. Prototyping is also part of the testing process and leads to important feedback. Depending on the typeface category (display type/text typ) the readability and legibility of the typeface become an important consideration. However it is not as crucial if the typeface is a display type, where expression of the form takes a little more precedence. - Deploy
Even after deploying a completed typeface there are always teething problems that did not come to the fore during the prototyping and testing phases. Thus, the task of revision doesn’t end upon deployment. The rigour of the testing is important so that the teething issues remain minor.
Typeface Construction
Fig 1.1 Construction grid for the Roman Capital using 8*8 cells
Construction and Considerations
Fig 1.2 Classification according to form and construction
Different forms and constructions must be taken into account when designing a new type. An important visual correction is the extrusion of the curved (and protruding) forms past the baseline and cap line. This also applies to verticle alignment between curved and straight forms.
'Fitting' the type: A visual correction is also needed for the distance between letters. It is not possible to simply place letters next to each other with equal spacing between them. The letters must be altered to a uniform 'visual' white space (the white space between the letters should appear the same).
Fig 1.3 Ink Traps
Ink traps were generally used when printing on cheap absorbent paper and when printing is fast and not very precise. Corners generally tend to suffer and as such with ink traps the corners remain visible.
Fig 2.1 Contrast
Fig 2.2 Size
Fig 2.3 Weight
Fig 2.4 Form
Fig 2.5 Structure
Fig 2.5 Texture
Fig 2.5 Direction
Fig 2.5 Colour
Form: The interplay of meaning and form brings a balanced harmony both in terms of function and expression. When a typeface is perceived as a form, it no longer reads as a letter because it has been manipulated by distortion, texture, enlargement, and has been extruded into a space.
Fig 2.6 Perception and Organisation
INSTRUCTIONS
TASK 2A
Use our first name or pseudonym. Explore and compose as many permutations and combinations
of our name in the form of a wordmark/lettering. The final key artwork must be an elegant solution, well balanced and composed, not complicated or confusing that leads to a functional and communicable key artwork.
Reference
Fig 3.1 References From Google (Week 3, 16/9/2023)
Fig 3.1 Simple Mind Map About Me (Week 3, 17/9/2023)
Sketches
Fig 3.1 Sketches (Week 3, 17/9/2023)
Sketch #1: I got this idea from the stamp used in Chinese calligraphy.
Sketch #2: It shows my mind is in a mess.
Sketch #3: I got this idea from kittens' ears.
Digitalization
Fig 3.1 In Class Practice (Week 4, 23/9/2023)
Fig 3.1 Reference (Week 4, 23/9/2023)
Fig 3.1 Key Artwork Attempt #2 (Week 4, 23/9/2023)
I got the idea from Chinese calligraphy and the stamp used while writing calligraphy.
Fig 3.1 Printed Key Artwork and Feedback (Week 5, 27/9/2023)
We are asked to put our key artwork on an A4 size artboard and also place it on a black shirt this week. Then, we printed it out using the printer in E1.08. Mr Vinod gave us some feedback based on our design.
Fig 3.1 Key Artwork Attempt #3 (Week 5, 27/9/2023)
After getting feedback, I fixed my design in class.
Final
Fig 3.1 Key Artwork Final - JPG (Week 5, 27/9/2023)
Fig 3.1 Key Artwork Final - PDF (Week 5, 27/9/2023)
TASK 2B
We are asked to go to the colour hunt site and pick a colour palette for our brand's identity then begin Task 2B collateral and identify 3 collaterals (T-Shirt, Tote Bag, etc.)
Fig 3.1 Process (Week 6, 8/10/2023)
Fig 3.1 Try Out with Colours so It Looks Better (Week 5, 30/9/2023)
Fig 3.1 Colour Palette Chosen (Week 5, 30/9/2023)
Fig 3.1 Collateral #1 - Shirt (Week 5, 30/9/2023)
Fig 3.1 Collateral #2 - Towel (Week 5, 30/9/2023)
Fig 3.1 Collateral #3 - Necklace (Week 5, 30/9/2023)
After Mr.Vinod's feedback, I fixed my shirt's design. I try some different ways to design.
Fig 3.1 Collateral #1A - Shirt (Week 6, 4/10/2023)
Fig 3.1 Collateral #1B - Shirt (Week 6, 4/10/2023)
Fig 3.1 Collateral #1C - Shirt (Week 6, 4/10/2023)
Fig 3.1 Animated Wordmark (Week 6, 8/10/2023)
Fig 3.1 IG Posts (Week 6, 8/10/2023)
Fig 3.1 IG Layout (Week 6, 8/10/2023)
I adjusted the design of the shirt as I was not satisfied enough with it. I also changed my photo.
Fig 3.1 Shirt (Week 8, 16/10/2023)
Fig 3.1 Photo (Week 8, 16/10/2023)
Final
Fig 3.1 Key Artwork - Colour Version (Week 8, 16/10/2023)
Fig 3.1 Key Artwork - Colour Version (Week 8, 16/10/2023)
Fig 3.1 Key Artwork - BW Version (Week 8, 16/10/2023)
Fig 3.1 Key Artwork - GIF (Week 8, 16/10/2023)
Fig 3.1 Colour Palette (Week 8, 16/10/2023)
Fig 3.1 Towel (Week 8, 16/10/2023)
Fig 3.1 Shirt (Week 8, 16/10/2023)
Fig 3.1 Necklace (Week 8, 16/10/2023)
yingyistudio: https://www.instagram.com/yingyistudio/
Fig 3.1 Screengrab of IG (Week 8, 16/10/2023)
Fig 3.1 Final - PDF (Week 8, 16/10/2023)
FEEDBACK
Week 4
General Feedback: Form must follow function, if not its decoration.
Specific Feedback: The idea from stamp can have more exploration. The idea from kittens' ear is acceptable but the audience might tight it with cat. Week 5
Specific Feedback: The 'y' is too big, make it smaller will be better. It will look better if serif is similar.
Week 6
General Feedback: Wordmark need to be readable and pronounceable. Need contrast on color.
Specific Feedback: The shirt is unimpressive in expansion, can expand in different ways, such as put it really big. Repetition is also an expansion.
Week 7
General Feedback: If have issues in e-portfolio, solve them. Need to be exaggerate if want to show something. Can enlarge the certain part of collateral to attract attention.
Specific Feedback: Should come out the picture with professional. Be creative and casual.
REFLECTIONS
Experience
We were instructed to use our initials/name and I liked the process of how we got to focus on ourselves. I got to know myself on a deeper level through this process. I was quite anxious while working on this task as the other modules had so much work to do too. Overall, I had lots of fun during this task and I enjoyed the process of designing an identity.
Observations
I observed how certain colors can appear different with a different background in visual communication. The serifs in the wordmark should also be consistent so that it looks better.
Findings
Through this task, I found that design is really all about visual communication. I always think about how the design looks while designing. For example, did the design look comfortable, did the color contrast enough, etc. I still have a long way to learn in typography and I will try my best in it.
FURTHER READING
Fig. 4.1 Typographic design: Form and communication (2015)
Reference:
Carter, R., Day, B., Meggs, P. B., Maxa, S., & Sanders, M. (2015).
Typographic design: Form and communication.
Hoboken, New Jersey: John Wiley & Sons, Inc.
Chapter 9: Typography in Time and Motion
Background
The history of type in motion is most commonly linked to film title sequences.In silent films, intertitles were used to cue audiences to plot points, and for many years simple title cards marked the start and end of the film.
Today, kinetic typography is featured not just in film and television titles but in a wide range of digital media.Type in motion has the ability to draw in viewers and keep their attention. Designers use moving type in many projects.
Using Type in Time-Based Media
An understanding of the principles of animation and film broadens the potential for designers to communicate and create rich messages with type in time and motion.
In the span of a motion piece, frames follow each other, revealing the message or story for the viewer over time. The order is important to how we decipher a message.
Meaning and interpretation.Designers can present an idea using a sequence to tell a story or communicate information in a very direct.
Continuity. The feeling that space, time, and visual elements are continuous helps bring clarity to a motion sequence.
Fig. 4.2 Continuity Within A Sequence
How Type Changes and Moves
Fixed Position
Variation. In a motion sequence, type can change even if it does not move across the screen. The typography can remain the same while each frame shows a change in color or other formal quality.
Fig. 4.3 Fixed Composition
Movement
Direction. There are many ways type can move between two points, sarting with simple scrolling.
Fig. 4.4 Movement
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