22.05.2024 - 12.06.2024 (Week 5-Week 8)
What is perception?
II. The Law of Proximity
Learning key artwork and collaterals was quite interesting as we get to learn how to create and design our own logo and branding. The task did not limit our design in a horizontal or vertical way instead we were told to design them from our preferences and liking. Like mine, my idea was came from a habit of mine which is scribbling and drawing since young. Moreover, we have the opportunity to learn how logo works in industries and applying the knowledge to create our own branding and logo design. Compared to the tasks before, I found myself to be more observant and having a better problem solving skills as the tasks got more challenging yet exciting. Even though it was quite challenging at first, everything went smoothly with the guidances and advices given by Mr Vinod.
Ng Kar Yee / 0367743
Bachelor of Design (Honours) in Creative Media
Advanced Typography / Task 2
Bachelor of Design (Honours) in Creative Media
Advanced Typography / Task 2
LECTURES
Week 5 ⇒ Perception & Organisation
- Perception is the way in which something is regarded, understood, or interpreted
- Perception in typography deals with the visual navigation and interpretation of the reader via contrast, form and organisation of the content.
- Content can be textual, visual, graphical or in the form of colour. However our focus today is in typography.
Figure 1.0 Contrast by Rudi Ruegg, week 5 (22.05.2024)
1. Contrast
a. 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. The most common use of size is in making a title or heading noticeably bigger than the body text.
Figure 1.1 Example Of Size In Contrast, week 5 (22.05.2024)
Figure 1.2 Example Of Size In Contrast, week 5 (22.05.2024)
b. 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.
Figure 1.3 Example Of Weight In Contrast, week 5 (22.05.2024)
Figure 1.4 Example Of Weight In Contrast, week 5 (22.05.2024)
c. 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.
- For refers to the overall look and feel of the elements that make up the typographic composition. It is the part that plays a role in visual impact and first impressions.
- A good form in typography tends to be visually intriguing to the eye; it leads the eye from point to point, it entertains the mind and is most often memorable.
Figure 1.5 Example Of Form In Contrast, week 5 (22.05.2024)
Figure 1.6 Example Of Form In Contrast, week 5 (22.05.2024)
d. Structure
- Structure means the different letterforms of different kinds of typefaces.
- For example, a monoline sans serif and a traditional serif, or an italic and a blackletter.
Figure 1.7 Example Of Structure In Contrast, week 5 (22.05.2024)
e. Texture
- By putting together the contrasts of size, weight, form, and structure, and applying them to a block of text on a page, you come to the contrast of texture.
- Texture refers to the way the lines of type look as a whole up close and from a distance. This depends partly on the letterforms themselves and partly on how they’re arranged.
Figure 1.8 Example Of Texture In Contrast, week 5 (22.05.2024)
Figure 1.9 Example Of Texture In Contrast, week 5 (22.05.2024)
f. Direction
- Contrast of direction is the opposition between vertical and horizontal, and the angles in between. Turning one word on its side can have a dramatic effect on a layout. Text blocks also have their vertical or horizontal aspects of direction.
- Mixing wide blocks of long lines with tall columns of short line can also create a contrast.
Figure 2.0 Example Of Direction In Contrast, week 5 (22.05.2024)
Figure 2.1 Example Of Direction In Contrast, week 5 (22.05.2024)
g. Colour
- The use of color is suggested that a second color is often less emphatic in values than plain black on white. Therefore it is important to give thought to which element needs to be emphasized and to pay attention to the tonal values of the colors that are used.
Figure 2.2 Example Of Colour In Contrast, week 5 (22.05.2024)
Organisation
a. Gestalt
- Gestalt theory emphasizes that the whole of anything is greater than its parts.
- Therefore in design, the components/ elements that make up the design is only as good as its overall visual form. While each component may be functional at an elemental level, the sum of its parts is not greater than the whole or the overall form.
- Law of Similarity
- Law of Proximity
- Law of Closur
- Law of Continuation
- Law of Symetry
- Law of Simplicity (Praganz)
Figure 2.3 The Gestalt Principles Of Grouping, week 5 (22.05.2024)
I. The Law of Similarity
- Refers to the gestalt grouping law that states that elements that are similar to each other tend to be perceived as a unified group. Similarity can refer to any number of features, including color, orientation, size, or indeed motion.
II. The Law of Proximity
- Refers to gestalt grouping law that states elements that are close together tend to be perceived as a unified group. This straightforward law states that items close to each other tend to be grouped together, whereas items further apart are less likely to be grouped together.
- Refers to the mind’s tendency to see complete figures or forms even if a picture is incomplete, partially hidden by other objects, or if part of the information needed to make a complete picture in our minds is missing
- Holds that humans tend to perceive each of two or more objects as different, singular, and uninterrupted object even when they intersect. The alignment of the objects or forms plays a major role for this principle to take effect.
V. The Law of Symmetry/Law of Praganz.
- You can find out more about these laws by viewing the links provided or simply Googling them.
- However keep in mind that you will find variation in the interpretation and you will have to weigh them all to come to a consensus.of your own.
- The idea in the end, is to ensure awareness and inform your work process. Organisation of information in the form of laying out complex content in a hierarchical manner requires practice and the knowledge gained herein but also elsewhere. Knowledge obtained from reading, listening and viewing must be exercised or put to use for it to be retained and of standard.
INTRODUCTION
TASK 2
EXERCISE⇒ (A) KEY ARTWORK
For our second task, Mr Vinod introduced Key Artwork to
us, which is an understanding of the key artwork is a
wordmark/lettering, but is also an artwork. As a wordmark/lettering it
is used to identify a person but it is also used as an artwork that
might adorn a lapel pin/ T shirt/poster (collateral). The key artwork
can be disassembled into constituent shapes to form vibrant patterns
that continue to maintain and expand its visual identity.
For this task, we are required to
Use your first name or pseudonym to explore and compose as many
permutations and combinations of your 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. This key
artwork will subsequently be used in Task 2(B) collateral.
RESEARCH
To have a head start, I began to do some research to get a briefly idea on how should I design my key artwork.
Figure 10.0 Example From Pinterest, week 5 (22.05.2024)
Figure 10.1 Example From Pinterest, week 5 (22.05.2024)
SKETCH
After doing some research, I started brainstorming and sketching out my ideas.
Figure 10.2 Sketching, week 5 (22.05.2024)
IDEA PROPOSAL
After sketching my ideas, I digitized out an initial idea to show to Mr Vinod.
Figure 10.3 Initial Idea, week 6 (29.05.2024)
DIGITIZATION
After showing Mr Vinod my initial ideas, he found my first idea interesting and encouraged me to continue digitizing it. Mr Vinod also advised to experiment on thin to thicker strokes for the font as thin stroke font design brands are hardly notice in the industry.
During the process, I designed the fonts to have thin to thick
strokes. I experiments and twig it quite a number of time to have
the thickness I wanted. After showing Mr Vinod the first time of
my digitization, he suggested to leave a bit of space
between the turning of the strokes so that the font have a more
impact outlook.
Figure 10.4 Digitization Process, week 6 (29.05.2024)
FINAL DIGITIZATION
Figure 10.5 Final Digitization, week 7 (05.06.2024)
COLOUR PALETTE
For the colour palette for my key artwork, I decided to surround the colours at blue, pink and purple as these are the colours that I enjoy. After searching for a colour palette that suits my thoughts, I also added an extra colour which is light pink so that I can have a huge contrast in the colours.
Figure 10.6 Colour Palette, week 7 (05.06.2024)
FINAL KEY ARTWORK
1. Black wordmark on white background
Figure 10.7 Black wordmark on white background (JPEG), week 7 (05.06.2024)
Figure 10.8 White wordmark on black background (JPEG), week 7 (05.06.2024)
Figure 10.9 Colour palette (JPEG), week 7 (05.06.2024)
Figure 11.0 Wordmark in actual colours on lightest shade of colour palette (JPEG), week 7 (05.06.2024)
Figure 11.1 Wordmark in lightest shade of colour palette on darkest shade of
colour palette (JPEG),
week 7 (05.06.2024)
OVERALL VIEW
ANIMATION
After finishing the key artwork, I continued to design an animation using Adobe After Effect.
EXERCISE⇒ (B) COLLATERAL
For the second part, we are required to design a t-shirt, lapel
pin, an animated key artwork and an Instagram account (or as
instructed in class) transforming the key artwork into a brand.
Students will work on the animated key artwork first and
fine-tune the outcomes before going on to the and other
collateral material: t-shirt, lapel pin and finally an Instagram
account. The output must result from in-depth exploration and
must communicate both visually and textually the desired message
and mood set by the key artwork and its function.
Collateral: Animated Key Artwork (800/1024 px, height and width; Gif
format), use mock-ups to simulate the printing of the collateral. If
instructed, you will be required to print the collateral.
COLLATERAL PROCESS
For the collateral, I decided to go for a hoodie, a cap and a canvas bag. I started by scouting for suitable images from website like freepik to get the images for my collateral. I also took a picture in-front of our design studio as instructed and edited the image in Adobe Photoshop to grayscale.
Figure 11.2 Version 1, week 7 (05.06.2024)
After getting feedback from Mr Vinod, I changed my expansion pattern and most of the design.
Figure 11.2 Version 2, week 7 (05.06.2024)
FINAL COLLATERAL
Figure 11.3 Collateral 1 Hoodie (JPEG), week 7 (05.06.2024)
Figure 11.4 Collateral 2 Canvas Bag (JPEG), week 7 (05.06.2024)
Figure 11.5 Collateral 3 Cap (JPEG), week 7 (05.06.2024)
OVERALL VIEW
INSTAGRAM SCREEN GRAB & LINK
Figure 11.5 Instagram Screen Grab, week 7 (05.06.2024)
Instagram Link
KEY ARTWORK & COLLATERAL (PDF)
FEEDBACK
WEEK 5
General Feedback
- Advised to have a 4 letter word for the task
- Prioritize readability
WEEK 6
General Feedback
- Print out the fonts in a 175x175mm and a 15x15mm o.5 stroke weight square box.
- Imperfection in fonts need to look exaggerated Thin font are very rare as a logo in the industry as it creates a very weak impact
- Sharp end stroke font need to have a cut at the end as the sharpy end gives a never ending feel
Specific Feedback
- Font create is lack of impact
- Experiment fonts with thick n thin stroke
- For the second font design, the overall look isn’t balance as the head of the R consume too many space
WEEK 7
General Feedback
- Justify the reasons for collaterals chose
Specific Feedback
- Need to work more on the collaterals
- Need more work on expansion pattern
- Increase the spacing more between the turning point of the fonts as it's not visible enough
- Colour palette for the collaterals is fine
REFLECTION
FURTHER READING
Typographic Design Form Communication by Rob Carter
TYPOGRAPHIC DESIGN EDUCATION
1. Letter Digit/Configurations
- Visual configurations were invented by combining letters from the English alphabet and single-digit numbers (Figs. 11-1 to 11-4). Scale, proportion, weight, and shape relationships between two different signs were explored.
- Objectives of this exercise include introducing letterform drawing and drafting skills, using typographic joinery to unify the two distinct forms into a visual gestalt, and understanding the variety of spatial relationships that can exist among characters.
- Letterforms in an old section of a European town were studied and documented through drawing, rubbings, and found material. A black-and-white letter composition was developed, depicting graphic qualities found in the assigned area. On a formal level, compositional issues such as dynamic asymmetrical composition and form-counter form relationships are explored. On an interpretive level, the ambience of a historical area is translated into a typographic configuration (Fig. 11-5).
Figure 3.0.1 Letter digit/configurations
2. Urban letterform studies
- Letterforms in an old section of a European town were studied and documented through drawing, rubbings, and found material. A black-and-white letter composition was developed, depicting graphic qualities found in the assigned area. On a formal level, compositional issues such as dynamic asymmetrical composition and form-counter form relationships are explored. On an interpretive level, the ambience of a historical area is translated into a typographic configuration (Fig. 11-5).
Figure 3.0.2 Urban letterforms studies
3. Flowering Typographic
- Selected letters of the alphabet were combined with images of flowers that have been reduced into visually simplified forms. Each letter is coupled with a flower whose name begins with the chosen letter. In the examples shown, A is for alyssum (Fig. 11-6), K is for Kirengeshoma (Fig. 11-7), J is for jalap root (Fig. 11-8), and H is for hollyhock (Fig. 11-9).
- A primary objective of this project is to achieve a harmonious synthesis between type and image, and in the process create a new visual configuration. It is essential that both the letterform and the flower be recognizable in this hybrid form. This project is also concerned with exploring the dynamic relationship between
Figure 3.0.3 Flower Typographic
4. Inventing Sign Systems
- A set of nine signs were invented (Figs. 11-10 and 11-11). Each was required to be a distinctive mark, with unique optical characteristics, yet harmonious with all the other signs and clearly recognizable as part of the set.
Figure 3.0.4 Inventing sign system
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