Advanced Typography - Project 2
Advanced Typography - Project 2
Wong Kai Yi (0340236)
Advanced Typography
Project 2
1. LECTURE
No lectures
2. INSTRUCTIONS
Project 1
05.05.2020 (Week 4)
Project 1 & 2 brief
Students are tasked to creatively and conceptually use visual and type in combination to create a key artwork to be used in collateral for the subsequent task down the line (*collateral design). The focus here is to use visual elements, and or graphical elements and the title (type) in an experimentive, impactful and visually attractive manner. The use of imagery must be, to a degree, subservient or of similar importance, with the title (in terms of visual hierarchy). Students need to generate a wide range of possibilities and document their progression leading to the final key artwork.
Keyartwork - typography + graphical elements
Choose 1 of the 3 topics (used in exercise 1 - typographical systems)
At least 4 items - poster (50 x 70cm), invite, T-shirt, sticker, pin badge, card etc.
Topics (details in Instructions PDF):
- The ABCs of Bauhaus Design Theory
- Russian Constructivism and Graphic Design
- All Ripped Up: Punk Influences on Design
Concept and idea:
Idea is like a branch, it can have many concepts.
PROGRESS
PROGRESS
FINAL KEY ARTWORK:
Upon receiving feedback, I made more layouts following the suggestions given during class.
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| Fig 2.1 Final key artwork |
02.06.2020 (Week 8)
After confirmation of the key artwork, I start to work on the poster. The size is A3.
This is my first layout with background colour variations - white, yellow, black.
This is my first layout with background colour variations - white, yellow, black.
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| Fig 2.2 Layout 1 white |
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| Fig 2.3 Layout 1 yellow |
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| Fig 2.4 Layout 1 black |
Upon receiving feedback, I made more layouts following the suggestions given during class.
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| Fig 2.5 Layout 2 |
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| Fig 2.6 Layout 3 |
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| Fig 2.7 Layout 4 |
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| Fig 2.8 Layout 5 |
09.06.2020 (Week 9)
Upon receiving feedback, it was decided to go with layout 5. I made the changes suggested by the lecturers and came up with the slight change of layout 5.
I was asked to resize the width of the poster to fit the design while remaining the height of A3 size.
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| Fig 2.9 Layout 5 2.0 |
The text was still too big, so I have to make it maximum 12pt.
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| Fig 2.10 Layout 5 3.0 |
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| Fig 2.11 Layout 5 3.0 light purple |
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| Fig 2.12 Layout 5.0 light peach |
The Bauhaus is supposed to be contrasting, so my muted colors are not suitable. I used Mr Vinod's suggestion to make the key artwork grayscale with yellow background. It is finally approved.
FINAL POSTER:
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| Fig 2.13 Final Poster |
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| Fig 2.14 Animated gif 1.0 |
Poster:
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| Fig 2.15 Final Submission poster |
Invite:
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| Fig 2.16 Final Submission Invite (PNG) |
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| Fig 2.17 Final Submission (gif) |
T-shirt:
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| Fig 2.18 Final Submission T-shirt |
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| Fig 2.19 Final Submission Tote Bag |
Flat lay:
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| Fig 2.20 Final Submission Flat lay |
Compilation of collateral:
Mr Vinod:"Buy my book!" (For Punk Design)
Key Artwork must be done before continuing with poster. When designing and making modifications, do not go too far from the key artwork. No more microsite. The poster sets the style for the collaterals. Point size 8-12pt.
Specific feedback:
Make the poster narrower, but keep the height of A3. Decrease point size, it's too big. Try to make the body text black to increase readability because currently the dark red text is makin git difficult for viewers to read. For the dates, align to the left and increase the leading exponentially until it fits the whole space. Position the "Open Public Lectures, Lecture Theater 12".
Finish project 2 by this week. Start thinking on final project ideas.
Specific feedback:
Invite: The animation is too simple, make it have the nature of the key artwork.
Updated: Looks interesting, good.
T-shirt & tote bag: Try to make patterns with the shapes you have. You do not have to use your whole key artwork. Put your full key artwork either at the front / back of the t-shirt and tote bag.
This books shows various examples under different categories to inspire designers. It includes different media and techniques such as hand-lettering, brush scrawl, crayon, blackboard, vector and many more. It shows that the designer is not just limited to a set of tools but can make typefaces out of almost anything. Designers can explore ideas about light and shadow, overprinting, fluidity, flat dimension etc. It shows that typefaces can be created by the inspiration of almost anything. It has infinite exploration paths. However, the designer or typographer has to be careful with the aesthetics and legibility depending on the desired outcome of the typeface.
Fig 2.21 Final Submission Compilation (PDF)
3. FEEDBACK
02.06.2020 (Week 8)
General feedback:
Try out your artwork with everyone, non-design students
Analyzing good layout, alignment, balance etc
Negative space is your friend, don't try to fill up all of the spaces
Specific feedback:
Key artwork:
B&W: ok, good (no changes from w6)
Colour: use the same tonal values for the bnw version, can use one color with different tones
Poster: try one color first, black against yellow
Can work in bnw first. Until it works, then introduce color
Layout - repetition, partial, variation in sizes, break down the key artwork into several sections
Utilize the space in the poster
Try out your artwork with everyone, non-design students
Analyzing good layout, alignment, balance etc
Negative space is your friend, don't try to fill up all of the spaces
Specific feedback:
Key artwork:
B&W: ok, good (no changes from w6)
Colour: use the same tonal values for the bnw version, can use one color with different tones
Poster: try one color first, black against yellow
Can work in bnw first. Until it works, then introduce color
Layout - repetition, partial, variation in sizes, break down the key artwork into several sections
Utilize the space in the poster
09.06.2020 (Week 9)
General feedback:Mr Vinod:"Buy my book!" (For Punk Design)
Key Artwork must be done before continuing with poster. When designing and making modifications, do not go too far from the key artwork. No more microsite. The poster sets the style for the collaterals. Point size 8-12pt.
Specific feedback:
Make the poster narrower, but keep the height of A3. Decrease point size, it's too big. Try to make the body text black to increase readability because currently the dark red text is makin git difficult for viewers to read. For the dates, align to the left and increase the leading exponentially until it fits the whole space. Position the "Open Public Lectures, Lecture Theater 12".
16.06.2020 (Week 10)
General feedback:Finish project 2 by this week. Start thinking on final project ideas.
Specific feedback:
Invite: The animation is too simple, make it have the nature of the key artwork.
Updated: Looks interesting, good.
T-shirt & tote bag: Try to make patterns with the shapes you have. You do not have to use your whole key artwork. Put your full key artwork either at the front / back of the t-shirt and tote bag.
4. REFLECTION
02.06.2020 (Week 8) - 16.06.2020 (Week 10)
It is important to let others look at your design, so that you understand how they look at your work. Include people even non-designers because your design is to be viewed by everyone. Sometimes, your design might be too difficult for others to understand. Therefore, when designing, remember to not overwork until the design is difficult to comprehend.
Additionally, refer to other designs as well and analyze the designs well. It is crucial because critical thinking and strategic analyzing is important as a designer. My designs have to be mutual and able to communicate a message well instead of just focusing on aesthetics.
Additionally, refer to other designs as well and analyze the designs well. It is crucial because critical thinking and strategic analyzing is important as a designer. My designs have to be mutual and able to communicate a message well instead of just focusing on aesthetics.
5. FURTHER READING
26.05.2020 (Week 7) - 02.06.2020 (Week 8)
Title: Typography, Referenced : A Comprehensive Visual Guide to the Language, History, and Practice of Typography by Haley, Allan
Typographic Principles:
Type size: to delineate information levels for the reader.
For example, a sign's text; large size pulls viewers to read, medium size to give deep information, and a smaller size provides map information.
Readability
Formats: U.S. page sizes such as A1, A2, A3 and so on.
International Standards Organization (ISO) formats: Wilhelm Ostwald proposed a ration of 1 to square root of 2, which is 1:1414 ratio across all paper sizes. When any of the sheets are halved, the resulting sheets remain the same ratio.
Text type:
Book text: Caslon, Bembo, Garamond
Typefaces with clear readability: Centaur, Sabom, Clearface
Display type
to quickly catch readers' attention, mainly used on posters, promotions and advertisements during the late 19th century.
Typefaces: Clarendon, Rockwell, Slab serifs, Memphis.
Reading direction and scanning:
From left to right, diagonally down to the next line, then left to right. It is a Z-shaped scanning pattern.
Focal point:
Created by dynamic composition, to attract viewer's attention. It is achieved by using contrasts in shape, size, color, typeface and texture.
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| Fig 1.37 Typography Referenced by Haley, Allan |
Typographic Principles:
Type size: to delineate information levels for the reader.
For example, a sign's text; large size pulls viewers to read, medium size to give deep information, and a smaller size provides map information.
Readability
Formats: U.S. page sizes such as A1, A2, A3 and so on.
International Standards Organization (ISO) formats: Wilhelm Ostwald proposed a ration of 1 to square root of 2, which is 1:1414 ratio across all paper sizes. When any of the sheets are halved, the resulting sheets remain the same ratio.
Text type:
Book text: Caslon, Bembo, Garamond
Typefaces with clear readability: Centaur, Sabom, Clearface
Display type
to quickly catch readers' attention, mainly used on posters, promotions and advertisements during the late 19th century.
Typefaces: Clarendon, Rockwell, Slab serifs, Memphis.
Reading direction and scanning:
From left to right, diagonally down to the next line, then left to right. It is a Z-shaped scanning pattern.
Focal point:
Created by dynamic composition, to attract viewer's attention. It is achieved by using contrasts in shape, size, color, typeface and texture.
09.06.2020 (Week 9) - 16.06.2020 (Week 10)
Title: The Typography Idea Book : Inspiration From 50 Masters by Heller, Steven, Anderson, Gail
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