Advanced Typography | Task 2A & 2B

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1/5/2022 - 23/5/2022 | Week 6 - Week 9
Advanced Typography | Bachelor of Design in Creative Media
Shofwa Alyadiena | 0350019
Task 2 - Key Artwork and Collateral

Lectures

LECTURE 4 | DESIGNING TYPE

In this lecture, we are explained that there are two main reasons why we should continue to create typefaces among the thousands that already exist, the reason being that 'type design carries a social responsibility so we must improve its legibility' and 'type is a form of artistic expression'. Furthermore, type design can serve as an identity.

Every type design is created with a purpose in mind. For example, Adrian Frutiger created the font 'Frutiger' after his name, with the purpose of creating a clean, distinctive and legible font from close or far away. After a purpose was set, he considered the limitations such as recognition under poor lighting.


Fig. 1.1 Frutiger

Matthew Carter, designer of the types Verdana and Georgia created the Verdana font with the purpose of creating a readable font through the screen from far away and up close during the increasing amount of devices used. The type's limitations include a subtle difference between the lowercase i j l.


Fig. 1.2 Verdana

Another example is Edward Johnson's type, "Johnston Sans" which was commissioned to him for a new standard font in London's Underground railway system. The request was to create a font that has traditional roots with a modern look. 

Fig. 1.3 Johnston Sans

Creating type has general steps to follow. 

  • Research
    Creating type requires knowledge of type. We should know beforehand the references we want to learn from (such as history, type anatomy), and the terminologies within typography. 

  • Sketch
    Sketching type can be traditional or digital, depending on our confidence in whichever material. Some prefer traditional sketching, as it's faster and more dependent on our capabilities in traditional sketching. Others prefer digital sketching, with cleaner lines and more visible results.

  • Digitizing
    The digital stage can be done using pre-existing font applications like FontLab or Glyph app. 

  • Testing
    Testing or prototyping is important to do before publishing. Through testing, we can tell what needs refining or changes. Once testing is conducted we are able to see what is readable or what is and isn't consistent.

  • Deploy
    Once everything is settled, we are clear to publish the type we designed. However, there is always something we can improve so it never truly ends with the deployment.
The construction of type needs a lot of thought and consideration to keep its uniqueness. 


Instructions

KEY ARTWORK

TASK 2

For this task, we are required to create a key artwork typographically using our initials. I started by searching for inspiration through videos I've seen before and examples I haven't yet seen.

Fig. 2.1 Name Logo Designs Challenge

Fig. 2.2 Minimalist Logos 

From the examples, I've noticed that the most used similarities of a type are the stem of the letters. I attempted my first sketch with what information I had and came up with four designs, the first three using capital letters and the last using lowercase. I tried my best to make it clear that an S and an A is present in the logo.

Fig. 2.3 Key Artwork Sketches (9/5/2022)

After a feedback session, I realize I haven't thought about the occupation the logos will supply for. I asked my friends to tell me what job they think I would have if it wasn't design-related. The responses I got were fast-food companies and hairstylists, and I personally have an interest in becoming a professional archer or anything that involves sailing a ship. I sketched out the basic picture logo that usually appears when each word is thought of.

Fig. 2.4 Key Artwork Sketches (9/5/2022)

I felt satisfied with the anchor and rope, and I decided to digitize that one.

Fig. 2.5 1st Progress (16/5/2022)

Fig. 2.6 Finished Shape (23/5/2022)

Using Futura Std as the base font for the logo allowed me to have more freedom in moving about the letters. 

Fig. 2.7 Color Exploration (23/5/2022)
Fig. 2.8 Color Exploration 2 (23/5/2022)

Fig. 2.9 Final Key Artwork Part 1 (23/5/2022)

As I had finished the original black-colored logo, I explored some color combinations using the help of online color palettes and friends' opinions. I narrowed the options to three and then chose one from there. I liked the red-blue combination best.

Fig. 2.10 First Draft Poster (23/5/2022)
Fig. 2.11 Second Draft Poster (23/5/2022)

Fig. 2.12 Third Draft Poster (23/5/2022)

Fig. 2.13 Fourth Draft Poster (23/5/2022)

After another feedback session, I checked with the fourth version using the attempted transitional typographic system. I decided to make adjustments 

Fig. 2.14 First Poster Mockup (23/5/2022)

After the final poster (Figure 3.3) was finished I inserted it into a mockup poster.

Fig. 2.15 Collateral Editing (29/5/2022)

For the collaterals, I wanted to do two designs that use the original logo and a half-inverted version of it. I switched up the blue anchor with the background. I then inserted the collaterals into a keychain mockup (provided by Xvect intern)(figure 3.4).

Fig. 2.16 Animated Invite Storyboard (28/5/2022)

For the animated invite, I sketched out a simple storyboard. It goes:

  1. Logo appears with the 'brand/sponsor' (S.A.)
  2. The S (rope) releases the A (anchor) to fall. The title of the event appears.
  3. The A hits the bottom and scrambles the number of the year, 2022.
  4. The screen follows the rope upwards and branches into four sections.
  5. The four sections explain the agenda (date, time, location).
  6. Lines blur and the slogan appears.
  7. The slogan zooms out
  8. Logo is reintroduced for a loop. 
After the storyboard was done, I worked and tested the animation on After Effects.

Fig. 2.17 Animated Invite First Test (29/5/2022)


Final Works

TASK 2

FINAL JPEG/GIF


Fig. 3.1 Final Key Artwork B&W JPEG (30/5/2022)

Fig. 3.2 Final Key Artwork Colored JPEG (30/5/2022)


Fig. 3.3 Final Poster JPEG (30/5/2022)


Fig. 3.4 Final Collateral JPEG (30/5/2022)



Fig. 3.5 Final Animated Invite GIF (30/5/2022)
(I could not find a better alternate converter, if this doesn't work the MP4 is in Fig. 3.8)


FINAL PDF/MP4

Fig. 3.6 Final Key Artwork B&W + Colored PDF (30/5/2022)
Fig. 3.7 Final Poster PDF (30/5/2022)
Fig. 3.8 Final Animated Invite MP4 (Youtube, 30/5/2022)



Feedback

WEEK 7

GENERAL FEEDBACK

- Don't use too many colors, always edit the logo from a black and white perspective.
- Apply simple designs as we will turn them into consistent logos.

SPECIFIC FEEDBACK

- Decide what occupation I will have if not design-related.
- Explore the curves of the S and A more.


WEEK 9

GENERAL FEEDBACK

- Try our best to speed up the process as time is running out.
- Use elements of our key artwork in the posters as that is the point of it.
- Try not to add or remove too much from the original key artwork.

SPECIFIC FEEDBACK

- Try a more refined transitional typographic system.
- Adjust the shape of the 'A' anchor.



Reflection

EXPERIENCE 

My experience this task was rather stressful. I enjoyed the logo making and brainstorming but as there was little time, I had to rush the animation and collaterals. Seeing the work everyone has shared helped inspire me throughout the rushing and I came up with designs that I like. 


OBSERVATION 

In the time I had spent doing this task, I always wondered about the process of the logos made in real-world circumstances. Some logos seem to be very simple while others are a little more complex. I believed that over-complication isn't necessary but the lack of anything unique takes away the identity of a brand. I applied that thought to this task. 


FINDINGS

After I have done the tasks, I realize that it's a bit difficult to come up with something original in an era where everything seems to have already been done or discovered. However, that fact alone doesn't stop the creation of anything unique or at least a little different. In this task as well I truly understand how typography is another form of expression and that it deserves much more thought than it already has. Without proper choice of type, there is always something missing. 



Further Reading

Typographic Referenced by Allan Haley etc

After watching the fourth lecture, I wanted to find out more about the creation of fonts and their purpose in the twentieth century. I searched up Allan Haley's 'Typographic Referenced' to further explore the fonts. On page 26, the paragraph about the 1980s explains that typography began to revolve around the invention of the internet. As mentioned previously, types like Verdana, Georgia, Comic Sans, and Hoefler were introduced with the purpose of creating a readable type through a screen. In the 1990s, the previous fonts served as a base for the modern world. 1992 was when the first Adobe Multiple Masters font was released. This was what helped designers make tens of thousands of designs. The creation of typefaces has never stopped, and better typefaces will always submerge.

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