Advanced Typography - Task 2 Key Artwork

Edita Chew En Thung / 0357357
Advanced Typography / Bachelor of Design (Honours) in Creative Media / Taylor's University
Task 1 / Exercises: Typographic Systems & Type & Play

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Table of Contents

1. LECTURES

2. INSTRUCTIONS

3. PROCESS WORK 

      i.  RESEARCH

      ii. FINAL

4. FEEDBACK

5. REFLECTION

6. FURTHER READING

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LECTURES

Week 5

In lecture 5, we are to think and understand about how typography influences perception and the organisation of information. 

1. Perception in Typography: 

Understanding how different typefaces, sizes, and styles impact readability and user experience. We learned that legibility and readability are crucial for effective communication.

  

2. Hierarchy and Structure: 

The importance of establishing visual hierarchy using typographic elements to guide the reader's attention. This involves strategic use of headings, subheadings, and body text.

  

3. Alignment and Spacing: 

How proper alignment, spacing, and layout contribute to a clean and organised design. Consistent use of grids and margins was emphasised.

4. Psychological Impact: 

Exploring how typography can evoke emotions and convey brand personality, thereby influencing the viewer's perception and engagement.

This lecture highlighted the role of typography in enhancing visual communication through thoughtful design choices.

INSTRUCTIONS

fig 1.0 | Module Information Booklet

Week 5

1. Lecture Documentation

• Watch the 5th lecture.
• Document a summary of the lecture in your Task 2 e-portfolio.

2. Feedback update

• Update the Google Feedback Sheet with Week 5's feedback (both general and specific).

3. Updating our e-portfolio

• Update our Task 2 e-portfolio and include:
• Lecture notes
• Process documentation
• Feedback received from tutor
• Reflection
• Further reading

4. Key Artwork Finalisation

• Once your key artwork is complete:
• Export the artwork as JPEG, grayscale, 300ppi in black & white, colour, and in reverse.
• Visit Colour Hunt to pick a colour palette for your identity.
• Take a black and white self-portrait and place the key artwork on it artistically.

Week 6

Update Task 2 e-portfolio: 

• Add new content related to lectures, process, feedback, reflections, and further readings.

Google Feedback Sheet: 

• Record and update Week 5’s general and specific feedback.

Task 2B Collateral: 

• Start creating three collateral items, expanding on your key artwork with the insights gained today.
• Inspiration from Pentagram: Visit the Pentagram website to study how they expand brand identities.
• Plan Instagram Design: Devise creative ways to showcase your visual identity and collateral on Instagram.

PROCESS WORK

fig 1.1 | Mindmap (self)

The mind-map consists of me being in my past, present and future aspiration selves, comparing them to each other, I was a different person than who I am now. 

I want to be able to convey that even in tough times, even if our lives are just a moment in the universe, I want to make it count and be the best version of myself.

Note: Personal branding is usually conversational & relatable while Business branding is Professional and polished.

fig 1.2 | sketches/draft

Experimentation with different styles to suit the keywords I have chosen. Rounded edges give off that look of comfort and elegance, approachable even. I then decided to start with a rectangular shape and rounded each side that is opposite each other to give that overall balance but still maintaining some of the crisp edges to give a full, professional yet defined feel.

fig 1.2 | sketches/draft/keywords breakdown

Initial Ideas and Concept

The creation of the typeface "Edita" began with brainstorming and ideate, focusing on the themes of fleetingness, comfort, and seriousness. I aimed to create a typeface that conveyed a sense of elegance and approachability while maintaining a balanced and impactful design. The keywords that guided this project were fleeting, comfort, seriousness and perfectly imperfect.

Sketching the Concepts

1. Rounded Forms and Semi-Circles:

- I started with the idea that rounded forms convey comfort and softness. These shapes were intended to make the typeface feel approachable and friendly.

- Semi-circles were used to represent the idea of being both perfect and imperfect, a visual metaphor for life's fleeting and transient nature.

2. Sharp Elements:

- To balance the softness, I incorporated sharp elements into the design. These sharp points convey seriousness and give the typeface a sense of precision and impact.

3. Fleeting Concept:

- The concept of "fleeting" was visualised as cherishing the moment, even if it's temporary. This idea was subtly integrated into the design to evoke a beautiful, transient feeling.

Developing the Typeface

With these concepts in mind, I began sketching the letterforms. The name "Edita" was chosen to represent the typeface, embodying elegance, approachability, and balance.

1. Exploration of the Letter "E":

- I started with the letter "E," incorporating a rounded circle at the top left to add softness.

- This exploration helped set the tone for the rest of the typeface, blending rounded forms with more structured, sharp lines.

2. Balancing Elegance and Impact:

- Each letter was designed to be bold and impactful while maintaining an elegant and balanced structure.

- I paid particular attention to the proportions and spacing, ensuring that the typeface would be visually pleasing and functional in various applications.

3. Refinement and Finalisation:

- The sketches were refined, focusing on achieving a harmonious balance between the rounded and sharp elements.

- The final version of "Edita" was a culmination of these efforts, resulting in a typeface that is elegant, approachable, and balanced.

Keyword(s) are: Fleeting, Comfort, Serious, Elegant. 

Semi circles are often described as perfectly-imperfect as their forms aren't complete. 

I want to live my life to the fullest while completing those imperfections while years and years will go by just like a beautiful fleeting moment in life.

Note: I used blurring tool and distortion effect to get the desired outcome.

I started to digitalise my key artwork from hand drawn to Illustrator.

fig 1.3

This is how it looks on Illustrator as I crafted them using simple shapes and a pen tool to get that sharp and curved areas/edges, finally merging them together. Then I imported to Photoshop to get the desired effect of "fleeting" with distortion.

fig 1.4

This is how it looks like on Photoshop after applying the effects of distortion to get the desired outcome.

Research

Experimented with colour schemes and textures to add depth and interest to the typographic design.

Chose colours that enhance the readability and overall impact of the text.

COLOUR PSYCHOLOGY

Colour can deeply influence how people perceive and interact with something, so understanding how that works will be beneficial to how the audience feel about your design/work/brand, etc.

Colour psychology explores how different colours affect our feelings and behaviours. 

Red: Energising and attention-grabbing; can evoke excitement but also aggression. Use it to create urgency or highlight important elements. Conveys passion, energy, and urgency. Great for making a bold statement but can be overpowering.

Blue: Calm and trustworthy; often associated with professionalism and reliability. Ideal for corporate, banks and tech brands.

Green: Relaxing and natural; symbolises growth and health. Great for eco-friendly and wellness brands.

Yellow: Cheerful and stimulating; can convey optimism but may cause anxiety if overused. Use it to attract attention and create a positive vibe.

Orange: Friendly and enthusiastic; combines the energy of red and the happiness of yellow. Perfect for those who are creative and adventurous.

Purple: Luxurious and mysterious; often associated with creativity and sophistication. Suitable for premium and artistic brands.

Black: Elegant and powerful; conveys sophistication and authority. Good for luxury brands but can be overwhelming if overused.

White: Clean and simple; represents purity and minimalism. Ideal for modern and minimalist brands.

fig 1.5 | key artwork colour scheme & palette testing

fig 1.6 | key artwork colour scheme & palette testing

I selected some colour palettes from colour hunt website to give me some ideas for my key artwork. I chose some dull colours at first but then later I contemplated for a while as it does not have a colour that stood out.

fig 1.7 | key artwork colour scheme & palette testing (finalising)

I finalised on my colour palette as it have one primary colour stand out as per advice from my tutor.

Testing

fig 1.8

I first tried to implement a glowing shadow effect in photoshop as I wanted to give it a rather "hopeful" look towards the meaning of life, but then later discarded the idea as my main focus was fleeting.

fig 1.9

Then, I focused on colour testing on the key artwork that was already done, and took some of the different coloured key artwork as some of the posts.

Self Photoshoot

fig 2.0

I picked a picture and removed the background and started to work on it as the face of my key artwork.

Trial & Error (self photoshoot)

fig 2.1 & 2.2 & 2.3 & 2.4 & 2.5

I tested out several pattern and subject arrangements in photoshop to see which one suits best and looks better. Some had shadows added to them and some have a distorted background to emphasise my keyword, "fleeting". I had 2 different photos of me so I went and tested both out.

Finalised version:

fig 2.6

Then I chose this as the final product resulting from all the trials and errors, and started to choose and edit on my key collaterals.

Collateral trial & error

fig 2.7

I did 3 other mockups but was then changed as our tutor gave me some advice that calendars are not widely used nowadays so therefore it's no use to implement them as my collateral. So I took them all out and found other collaterals as I saw fit.

Finalising my collateral

fig 2.8 & 2.9 & 3.0

These are the 3 final collateral I chose and photoshopped as I found images online to implement as my final collaterals. I edited using photoshop and overlayed them as I saw them fit, some I had to play with the highlights and use some blending techniques to get the exact "realistic" mockup then cropping and resizing them to fit the squared posts later on, 1024px x 1024px to be exact.

fig 3.1 & 3.2 | Expansion

I worked on the expansion for my key artwork and decided on emphasising the faded distortion and also to create a simple pattern based on my key artwork. The letters were placed stacked on each other creating a rather elegant look, which was what I wanted to achieve as well.

Instagram arrangement in illustrator

fig 3.3

I arranged the following "posts" in illustrator before actually posting on instagram, after creating an account solely for this task. I arranged them according to the visual and if it's pleasing to the eyes, slightly relating to the visual hierarchy.

FINAL

fig 3.4 | Final 1024px, 300ppi

fig 3.5 | Final  1024px, 300ppi

fig 3.6 | Final colour palette  1024px, 300ppi

fig 3.7 | Final black on white  1024px, 300ppi

fig 3.8 | Final white on black  1024px, 300ppi

fig 3.9 | Final collateral  1024px, 300ppi

fig 4.0 | Final collateral  1024px, 300ppi

fig 4.1 | Final collateral  1024px, 300ppi

fig 4.2 | instagram link

fig 4.3 | Final instagram page screengrab with good resolution

Instagram Link : HERE.

FEEDBACK

Week 5

General feedback:

- a design without meaning is soulless.
- memorability and engagement value is priceless.

- sell your story, don't just sell a logo.

Specific feedback:

- I see Eat instead of Edita, you like to eat?

Week 6

General feedback:

- colour scheme cannot be too light has to be more vibrant.

- cant have too much white space

- a good mark, any wordmark, you will lose some character as you reduce it.

Specific feedback:

- I'm fine with it, okay, good. (wanted to add on but then said it's actually fine) now proceed with the colour palette.

- maybe change your colour palette, it's too dull.

-Alright, the colour palette is fine now

Week 7

General feedback:

- don't confuse the branding

- how does the white show on white.

Specific feedback:

- choice of collateral needs to be changed

- very minimal to none expansion.

- remove the "a"

REFLECTION

Observation

In the Advanced Typography module, I noticed how crucial grids, layouts, and page flow are for effective communication. The interaction between images and text stood out, showing how important it is for them to work well together. Adapting designs to different media while keeping a consistent look was a key challenge that highlighted the need for flexibility in design.

I learned to use grids and layouts to organize information, making it easier to read and visually appealing. Understanding how images and text can complement each other was a major insight. I practiced balancing them to enhance the overall design. Adapting designs for different formats taught me to keep the core identity intact across various media, which is essential in today's multi-platform world.

Conclusion

This module greatly improved my typography skills. I can now create more coherent and attractive designs using grids and layouts. The ability to balance images and text has made my compositions more engaging. Learning to adapt designs across different media ensures my work remains consistent and recognisable. Overall, this module has been crucial in advancing my design abilities.

FURTHER READING

"I.D.E.A.S Computer Typography Basics" by David Creamer is a comprehensive introduction to the principles of computer typography.

The book covers the fundamentals of typefaces, font management, and the technical aspects of typography in digital design. Readers can learn about the history of type, the anatomy of letters, and best practices for creating readable and aesthetically pleasing text. It's an essential guide for anyone looking to improve their typographic skills and understanding in a digital context.

Personal Further Reading : Designing Type by Karen Cheng 2nd Edition

I have bought this book and read some of it through in my free time.

"Designing Type" by Karen Cheng, now in its second edition, is a comprehensive guide aimed at typographers, graphic designers, and students. The book covers the technical aspects of creating typefaces, addressing both the visual principles and the detailed processes involved in type design. The 2nd edition has been fully updated to include contemporary typefaces, expanded discussions on key design principles such as optical compensation and legibility, and a new chapter that addresses broader issues in type design. It features case studies and illustrations that link text with corresponding images, enhancing understanding of how individual design decisions impact overall typography. This makes it a valuable resource for both newbies and experienced professionals looking to deepen their understanding of type design.

I have only started trying to grasp the overall basics from this guide.

LINK TO TASK 1

LINK TO TASK 3