Advanced Typography - Task 2: (A) Key Artwork and (B) Collateral
10/6/2024 - 8/7/2024 (Week 8 - Week 12)
Wu Ziyang / 0368325
Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 2: (A) Key Artwork and (B) Collateral
LECTURES
Advanced Typography: Perception and Organisation
Form: The typographic composition's overall appearance and feel represent concepts in a visually balanced manner, ensuring harmony in function and expression.
A typeface's form is transformed from a letter to a form due to manipulations such as distortion, texture, enlargement, and extrusion into a space.
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.
Size, 2.weight, 3. contrast of form, 4.contrast of structure, 5. contrast of texture,6.contrast of colour and 7,contrast of direction.
INSTRUCTIONS
Task 2A：Key Artwork
• Behaves like a logo and artwork. Use our name or initials.
• This important artwork will then be used in Task 2B on various collateral.
• Not always legible. Typographic artwork. Explore alternatives - compositions, etc.
• It's almost like a monogram. A certain level of simplicity.
• Elegant solution and visual communication.
• Artwork should be scalable.
• Behaves like a logo and artwork. Use our name or initials.
• This important artwork will then be used in Task 2B on various collateral.
• Not always legible. Typographic artwork. Explore alternatives - compositions, etc.
• It's almost like a monogram. A certain level of simplicity.
• Elegant solution and visual communication.
• Artwork should be scalable.
Ideas:
I plan to use my acronym "ZY" or my first name "ZYANG" as my key artwork. Since the key artwork is to represent my personal identity, I decided to incorporate my personality into the artwork.
My personality: easygoing, compassionate, cheerful and lively
I haven't decided which direction I want to go in, so I want to make some sketches first and then think about it:
Fig 2.1: Wordmark sketches
Fig 2.2White wordmark on black background
Fig2.3 Black wordmark on white background
Fig 2.4 Colour palette
Fig 2.5 Wordmark in actual colours on lightest shade of colour palette
and Wordmark in lightest shade of colour palette on darkest shade of colour palette
Regarding the wordmark animation, I used AE to edit it. I first designed the path of the text and then changed the background color.
Fig 2.6 AE animation design
Final wordmark animation:
Fig 2.7 Final wordmart animation-GIF
Task 2B: Collateral
• Design our Task 2A: Key Artwork in Poster (A2 size) .
• Animated invite (square, 800/1024 px).
3 relevant collaterals (minimum 2 collaterals).
Fig 2.8 Collateral 1
Fig 2.9 Collateral 2
Fig 2.10 Collateral 3
My collateral is good overall, but the design of the box is too abrupt and needs to be modified, the pattern is too large and does not blend with the box
Fig 2.11 Final Collateral 3
Fig 2.11 instagram page
Instagram Link:https://www.instagram.com/wuzi_yang?igsh=MXV4eG85MnhkZmJtbA%3D%3D&utm_source=qr
FEEDBACK
Specific Feedback:I need to make a picture of the deepest background
General Feedback:Mr. Vinod explained why it's important to have a logo that can change to fit different screens and sizes so that it still looks good and is easy to recognize in various situations.
Week6
Specific Feedback：I should have made the letters the same size
Week5
Specific Feedback:The teacher said that my explanation was not very prominent, so I plan to redesign and explain my ideas
General Feedback：We use our own names or letters that represent ourselves to design logos
REFLECTION
Task2 was a challenge for me, and it took many revisions during production to complete my core design. I needed to put my personality into the letters while keeping the design reasonable. With Mr. Vinod's patient guidance, I found my way and understood the purpose of the assignment.
Observations:
In the process of completing Task 2, through my observation, it takes a lot of time to study and explore the completion of a brand design. Through studying other works, we can also be inspired and learn a lot of knowledge.
Finding
Through Task 2, I realized that when designing content, I must go through a lot of research and have a clear understanding of my own ideas, and other people's examples may be important experiences that can help you complete the task. We must clearly know how to design more perfect, so that the work is seen and appreciated by more people
In the process of completing Task 2, through my observation, it takes a lot of time to study and explore the completion of a brand design. Through studying other works, we can also be inspired and learn a lot of knowledge.
Finding
Through Task 2, I realized that when designing content, I must go through a lot of research and have a clear understanding of my own ideas, and other people's examples may be important experiences that can help you complete the task. We must clearly know how to design more perfect, so that the work is seen and appreciated by more people
Further Reading
on Dutch old style weights and proportions, his font became the first great British type and set the standard for all that followed. It is said that just as Shakespeare gave England a national theater, Caslon gave the country a national typeface.
After the introduction of Caslon’s fonts came Bodoni’s work. The typography and type designs Bodoni created are still regarded as among the most refined and elegant ever produced. But he did have the luxury of almost limitless time, money, and effort to spend on his projects. Bodoni worked for the Duke of Parma, and outside of the occasional royal commission, only worked on projects of his choosing.
Bodoni’s type was the result of an evolutionary process. The first fonts he used were Old Style (54) designs purchased from Fournier (73), and his first own fonts relied heavily on the Fournier type. Over many years, however, Bodoni’s design style changed to the Modern with which we are familiar today. Interestingly, when Bodoni’s style changed, he would simply recut specific letters for existing fonts to make them current.
His best-known typeface, Cooper Black, has been called a design for farsighted printers and nearsighted readers. Recently there has been a revival of several of his designs, the more important of which are Oz Handicraft from Bitstream (124), as well as Ozwald and Highlander from International Typeface Corporation (128).
Another U.S. graphic, typographic, and book designer, William Addison Dwiggins (87) (1880–1956) came about during this period. Dwiggins’s self-imposed challenge in all his type designs was to create beautiful and utilitarian typefaces for machine composition. In fact, this challenge became the catalyst for Dwiggins to begin his career in type design. He once wrote an article in the trade press complaining about a lack of acceptable Gothic typefaces available for Linotype (129) composition. Upon seeing the article, Chauncey Griffith, the director
of typography at Mergenthaler Linotype, wrote Dwiggins a letter that said, in essence,
“If you think you’re so good, let’s see you draw a Gothic.” Dwiggins accepted the challenge, which began a twenty-seven- year association between Mergenthaler Linotype and the designer. For Mergenthaler Linotype, Dwiggins designed Caledonia, Eldorado, Electra, Falcon, and Metro.
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