Advanced Typography /Task 2: 2A & 2B

Start from 17.09.2023

20.09.2023 -11.10.2023 /Week 4- Week 7
Kong Cai Yi / 0363862 
Advanced Typography / Bachelor of Design (Hons) in Creative Media 
Task 2A: Key Artwork

Task 2B: Collateral

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 INDEX

1. Lectures: All lectures 1 to 5 completed in Task 1/ Exercise 1 &2

2. Instruction / Task 2

2A: Key Artwork

2B: Collateral

3. Feedback

4. Reflections

5. Further reading

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INSTRUCTIONS

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Task 2A/ Key Art work
Instructions: 

1. Make a mind-map, create a moodboard or an inspo, determine a direction and decipher it in words.
2.  Produce explorations of possible wordmark/lettering of your name (first name or pet name or pseudonym) with a minimum of at least 4-5 characters.
3. This key artwork will subsequently be used in Task 2B on various collateral.

1. Ideation and sketches

Draft #1

Fig 1.1 Ideation and sketches ( 20.09.2023-Week 4)

Draft #2

Fig1.2  Ideation and sketches (23.09.2023-Week 4)

Digitalisation:

Fig 1.3 Improvising stroke (23.09.2023-Week 4)

 Fig 1.4 Process in AI (23.09.2023-Week 4)

In week 5, Mr Vinod required us to print out our artwork that include a view version in Black T-shirt, we need to save as PDF first before printing out.

Fig 1.5 Printing out version-JPEG (27.09.2023-Week 5)

Fig 1.6 Printing out version-PDF (27.09.2023-Week 5)

FINAL KEY ARTWORK (BLACK & WHITE)

Fig 1.7 Final key artwork-JPEG (27.09.2023-Week 5)

Fig 1.8 Final key artwork-PDF (27.09.2023-Week 5)

Task 2B/ Collaterals

1. Go to the colour hunt site and pick a colour palette for your brand's identity 
2. Begin Task 2B collateral (same T2 eportfolio), identify 3 collaterals (T-Shirt, Tote Bag, etc.)
3. Expand your key artworks identity into your chosen collateral. For inspiration view Pentagram site and study how identities are expanded.
4. Take a black and white self-portrait

Colour palette for my brand's identity:

Fig 2.1 Exploring colour of my brand identity (27.09.2023-Week 5)

Fig 2.2 Colour hunt (27.09.2023-Week 5)

FINAL KEY ARTWORK (WITH COLOUR)

Fig 2.3 Final key artwork-JPEG (27.09.2023-Week 5)

  

Fig 2.4 Final key artwork-PDF (27.09.2023-Week 5)

Animation:

Fig 2.5 Final key artwork-GIF (27.09.2023-Week 5)

Self-Portrait:

Fig 2.6 Self-Portrait(Black & White) (30.09.2023-Week 5)

Expand Key Artworks Identity:

Stage 1

Fig 2.7 Stage #1 Process (30.09.2023-Week 5)

Fig 2.8 Stage #1 Process (30.09.2023-Week 5)

I change my letter to different position and layout as it make my identity more attract and have own feature.

Fig 2.9 Stage 1 exploration (30.09.2023-Week 5)

Stage 2

This is the combination of my self-portrait and key artwork identity, I feel like satiability of purple very low (first version), so I make it more darker to stand out of eyes (Third version).

Fig 2.10 Stage #2 Process (1.09.2023-Week 6)

Stage 3

After the reminder from Mr Vinod, I realised that the first two stage is not the expansion of my key artwork, I should not change my letter's position and size. This is the outcome after I keep exploring and expand my brand identity.

Fig 2.11 Stage 3 exploration(4.10.2023-Week 6)

Stage 4

Instead of just changing the position of my identity artwork, I decided to add some definition of my key artwork.

Fig 2.12 Stage 4 exploration(11.10.2023-Week 7)

Collaterals:
1. Gift Card

References:

Exploration:

I created three type of gift card that include my key artwork and provide two different colour.

Fig 3.1 Front gift card (2.10.2023-Week 6)

Fig 3.2 Both side of gift card (4.10.2023-Week 6)

FINAL GIFT CARD

Fig 3.3 Final Gift Card (4.10.2023-Week 6)

2. Concert Ticket

References:

Exploration:

Fig 3.4 Ticket progression (3.10.2023-Week 6)

FINAL CONCERT TICKET

Fig 3.5 Final Concert Ticket(4.10.2023-Week 6)

Fig 3.6 Final Concert Ticket(4.10.2023-Week 6)

3. Phone case

Exploration:

Fig 3.7 Phone case progression (4.10.2023-Week 6)

FINAL PHONE CASE

Fig 3.8 Phone case (4.10.2023-Week 6)

After receiving feedback from Mr. Vinod, I decided to do some arrangement of my ticket collateral to shopping bag.

4. Shopping bag

References:

Fig 3.9 Shopping bag references (11.10.2023-Week 7)

Exploration:

Fig 3.10 Shopping bag exploration (11.10.2023-Week 7)

FINAL SHOPPING BAG

Fig 3.11 Final Shopping bag (11.10.2023-Week 7)

FINAL COLLATERALS

Fig 3.12 Final Collaterals-JPEG (13.10.2023-Week 7)

Fig 3.13 Final Collaterals-PDF (13.10.2023-Week 7)

Instagram layout design:

Fig 4.1 IG Design Layout(4.10.2023-Week 6)

Preview in instagram (Mobile):

Fig 4.2 IG Design Layout(11.10.2023-Week 7)

Adjustment for top three post:

Fig 4.3 IG Design Layout(11.10.2023-Week 7)

FINAL IG LAYOUT (DESKTOP):

Link to Instagram: https://www.instagram.com/c.a.i.y.i/

Bio: Don't let others easily define you, be your own star.

Fig 4.4 IG Design Layout(11.10.2023-Week 7)

Fig 4.5 Instagram post 1- Gift Card (11.10.2023-Week 7)

Fig 4.5 Instagram post 2- Key artwork logo (11.10.2023-Week 7)

Fig 4.6 Instagram post 3- Expansion of key artwork(11.10.2023-Week 7)

Fig 4.7 Instagram post 4- Expansion of key artwork(11.10.2023-Week 7)

Fig 4.8 Instagram post 5- Phone case (11.10.2023-Week 7)

Fig 4.9 Instagram post 6- Self Portrait (11.10.2023-Week 7)

Fig 4.10 Instagram post 7- Inspiration (11.10.2023-Week 7)

Fig 4.11 Instagram post 8- Layout decoration (11.10.2023-Week 7)

Fig 4.12 Instagram post 9- Shopping bag (11.10.2023-Week 7)

Fig 4.13 Instagram Post-PDF (11.10.2023-Week 7)

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FEEDBACK

Week 4 

General Feedback: Our work need to represent ourself, cannot design it for no reason.

Specific Feedback: No impact and too delicate, the stroke itself is too thin, hard to see.

Week 5

General Feedback: Should have a combination between letter to letter. 

Specific Feedback: The line beside letter"Y" should put at the top not the bottom. The combination of Letter"C" a bit weird, suggest to change the bottom shape to similiar with "Y". 

Week 6

General Feedback: We should expand our brand identity, not just putting our key artwork in different things without any exploration.

Specific Feedback: The first two stage is not the expansion of my key artwork, we are not allowed to change letter's position and size. 

Week 7

General Feedback: We can show part of our collateral in different post, attract reader to click in.

Specific Feedback: Suggest to change ticket collaterals to other things such as bag. Instead of changing the position of my key art work, try to do my expansion of my identity especially the top three post.

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REFLECTIONS

Experience

I've found this task to be quite interesting all along - creating a brand using my own name. Initially, when sketching the key artwork, I felt a bit lost, unsure of how to design something that truly reflects who I am. I tried using very fine strokes to create my typography, but my teacher advised against it, saying that very fine strokes can be difficult to manage and control. So, after doing some online research, I incorporated star elements into my typography, symbolizing that no one can define me; I am my own star.

After designing my key artwork, I initially chose a light brown color as my main color, but my true favorite color is purple. So, I decided to boldly experiment with the colors I like, making deep purple and light purple the primary colours of my brand identity.During the expansion of my identity, I felt a bit lost because my teacher wanted me to explore and expand without changing the font size or distorting it. I felt this was quite limiting, with only a few ideas coming to mind. So, I found that part challenging.

As for the collateral section, the entire process went relatively smoothly. I noticed that some seniors used tickets in their work, so I initially incorporated the concept of a concert ticket. However, Mr. Vinod suggested that I switch to something like a bag or another sellable item.The layout of the Instagram part was my favorite, making me feel a great sense of accomplishment and tranquility.

Observations 

I've found that this task is a great way to get to know ourselves and express our ideas through our work. Using colors that represent who we are to expand the key artwork helps clarify our direction. It has also made me realize how challenging mockups can be. I greatly admire those who can create 3D mockups, and I have no idea how they do it. I can only design my products in 2D collateral.

Findings

This task has taught me how to begin establishing my own brand. It's not just about designing a name; it's about having uniqueness that makes consumers remember both the name and the brand. Through Mr. Vinod's step-by-step guidance and trial and error, I've started to grasp the method of expanding my identity, which has taught me the balance between color and key artwork.

Moreover, I've learned that a mockup should not just feature my name; it needs to have a design and expansion that makes the product more interesting and appealing to others for purchase. It should have its own unique characteristics.

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FUTURE READING

Based on the list of recommended readings in the module information booklet, I did some further reading with the book "Typographic Design Form Communication" which also related to this task.

Fig 5.1 Typographic design: Form and communication (2015)

Topic 3: Legibility

Basic Principles of Legibility

• The most legible typefaces are those timeless examples characterized by three qualities upon which legibility is dependent: contrast, simplicity, and proportion. These typefaces exemplify beautiful and functional letterforms. A close look at typefaces such as Garamond, Baskerville, and Bodoni will reveal why their forms are as vital now as when they were first designed. 

• However, is no guarantee that typography will be legible. Effective typography depends upon such factors as the communications context and the subtle adjustment of letterforms and their spatial relationships, each of which may have an effect upon how easily typography is read. 

• Letters can be clustered into four groups, according to their contrasting properties. These are letterforms with strokes that are vertical, curved, a combination of vertical and curved, or oblique. From these groupings, one notices not only that letters are similar in many ways but also that there are some important differences. 

Fig 5.2 Letterforms with strokes (25.10.2023-Week 9)

• The most frequently used letters, such as the vowels a e i o u, are among the most illegible, and c g s x are easily missed in reading. Other letters that often cause confusion and are mistaken for one another are f i j l t. For example, the words fail, tail, and jail each begin with letters of similar shape and could easily be misread. The eye could possibly perceive f as t, or t as j. The designer should carefully study the words in display typography to identify such potential problems in legibility.

Fig 5.3 Distinguish one letter in the alphabet from another (25.10.2023-Week 9)

Capital and lowercase letters

• If text is set entirely in capital letters, it suffers a loss of legibility and the reader is placed at a significant disadvantage. Type set in this manner severely retards reading—more so than any other legibility factor. 

Fig 5.4  SHAPE (25.10.2023-Week 9)

• Figure 5.4 demonstrates that a word set in all capital letters is characterised by a straight horizontal alignment, creating an even word outline with letters of similar shape and size. A reader is not provided with the necessary visual cues that make words recognizable.

• TEXT SET IN ALL CAPITAL LETTERS ALSO USES A SIGNIFICANTLY GREATER AMOUNT OF SPACE THAN TEXT SET IN LOWERCASE LETTERS OF THE SAME SIZE. AS MUCH AS 35 PERCENT MORE SPACE CAN BE CONSUMED WHEN USING ALL CAPITAL LETTERS.

Interletter and interword spacing 

• The spacing of letterforms has a significant impact on legibility. Most readers are unaware of the typographic designer’s attention to this detail. Minute spatial relationships are controlled to create not only readable but beautiful and harmonious typographic communication.

Fig 5.5 interwork spacing (25.10.2023-Week 9)

Legibility and color

• Black type on a white background and on a light gray background prove highly legible. Legibility suffers as the contrast between type and its background diminishes. The color temperature of the paper upon which type is printed and the choice of typeface also have a relative effect upon legibility.

Fig 5.6 Black, grey, white background (25.10.2023-Week 9)

• Legibility is greatly compromised when type and background are assigned complementary colors. Adjusting the value of either color improves contrast and thus legibility. In this example, the orange background is lightened, and the blue background is darkened, in each case improving legibility.

Fig 5.7 Orange and blue background (25.10.2023-Week 9)

• The analogous hues yellow-green and blue are sufficiently different in value, resulting in an acceptable combination. A moderate adjustment of the yellow-green to a lighter value further improves legibility.

Fig 5.8 Green background (25.10.2023-Week 9)

• By scrutinizing the roles of value and hue contrast, the legibility of most typefaces can be improved. Typefaces that are visually challenging because of extreme proportions (heavy, light, wide, or thin) can be made more legible by assigning appropriate colour combinations.

Fig 5.9 Colour Combinations (25.10.2023-Week 9)

LEGIBILITY AND DIGITAL TYPOGRAPHY

• New legibility issues emerged when the digital revolution occurred in typography and design. This includes concerns relating to software, discussed in this section, and problems related to on screen display, covered in Chapter 8. Digital typography offers designers more possibilities for type manipulation than ever before, resulting in an obligation to know more about the cultural and formal evolution of typography than in times past. 

• Typographic experimentation allows designers to probe the relationships between type, space, and expression. Syntactic exploration reveals boundless potential to inform, amuse, and astonish. In recent years designers have extended their range of possibilities by approaching work as play and tools as toys. One example of the expressive potential of manipulated type is seen in a page from a series of experiments created to document wanderings in canyons of the Utah desert.

Fig 5.10 Canyons of the Utah desert (25.10.2023-Week 9)