Advanced Typography: Task 2

| 15.05.2024 - 05.06.2024 (WEEK 4 -WEEK 7)
| Tang Chin Ting [ 0366473 ]
| Advanced Typography / Bachelor of Design in Creative Media
| Task 2: Key Artwork

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LECTURES

All lectures have been completed in the blog Task 1: Exercises

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INSTRUCTIONS

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SUBMISSION

Task 2(A): Key Artwork

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.

Requirement

To begin this task, I created a mind map to introduce myself and outline keywords that represent who I am, including aspects related to my character, hobbies, and more. I chose to use Figma to organize and visualize all of these elements.

Figure 2.1 Mind Map About Myself

Research

After that, I decided that the design style for my name's logo should be a mix of rock 'n' roll, playful, punk, and a bit weird. Once I settled on this style, I began looking for references on Pinterest. The search for rock lettering logo designs immediately caught my attention. I found many interesting lettering logos, and I kept searching until I found the ones that I preferred the most.

Figure 2.2 References

Figure 2.3 References

Sketches

Figure 2.4 Sketches PDF

Digitized

Actually, this figure is my first outcome after digitizing my sketch. During the consultation with our lecturer, he mentioned that the letters are difficult to read and the square shape in the letter 'g' looks a bit weird. He suggested that I refine this aspect.

Figure 2.5 Digitised Idea

A throwback to when I was working on this project: I initially rushed through the task and digitized only one sketch based on my preferences. However, after receiving feedback from Mr. Vinod, he suggested that I need to digitize more of my sketches. Following his advice, I selected the four sketches I liked the most and digitized them using Adobe Illustrator. 

After I have done my digitizing, I really like the second and the third one. 

Figure 2.6 Four Ideas From My Sketches

• The first outcome, characterized by a 'bubbly' style, was inspired by the New-Jeans logo. I added elements like flowers to give it a cute appearance.
• The second outcome is one of my preferred designs. After receiving feedback last week, I refined the letter 'g' and adjusted the square shape to be more rounded.
• Another preferred outcome is the third design. It has a very cool, tattoo-like appearance. I particularly like the variation of thick and thin lines in each letter.

During the next class, while receiving feedback from Mr. Vinod, he asked for my preference between the second and third designs. I expressed a preference for the second and third ones. He then commented on the second design, indicating that it was his choice. However, he noted that the letters 'n' and 'g' were difficult to read, and the 'g' almost resembled a 'y'. As a result, I need to refine these letters in class.

Figure 2.7 Ideas that I Preferred

After making adjustments, I felt the design looked better, but Mr. Vinod pointed out that it still didn't relate to the keyword 'rebellion.' He explained that 'rebellion' typically resembles graffiti on a wall. If I wanted to use this keyword, I would need to rethink and redesign. Therefore, I decided to change the keyword to 'playful' for my final outcome.

Figure 2.8 Refine My Idea Following Lecturer's Feedback

This is my final outcome:

Figure 2.9 Final Outcome in Black and White Version

Task 2 (B): Key Collateral

• Design 3 key collateral (t-shirt/cup/total bag...)
• Create an animated key artwork
• Open an Instagram account
• Transforming the key artwork into a brand

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.

For the following step, I will start to select a color palette for my design. Actually, I searched online for a playful color palette and there are some examples here:

Figure 2.10 Selected Color Palette

Figure 2.11 Selected Color Palette

I decided against this design because my goal is to create an IP focused on musical instruments, which I envision with darker colors. Additionally, Mr. Vinod emphasized the importance of including a solid color in our palette. Consequently, I chose to find a suitable color palette on Colour Hunt.

Figure 2.12 Final Color Palette

After selecting my color palette, I began integrating it into my design. I experimented with various colors from the palette to make the letters more engaging. I discovered that the dark green and yellow-orange colors complement each other well.

Figure 2.13 Added Color for My Outcome

Figure 2.14 Trying with Different Colors

Animation

I used Adobe After Effects to complete this section, since my technique is not professional, I only adjust the opacity and position of every letter.

Figure 2.15 Working in After Effect

Figure 2.16 Animation Final Outcome

I explored various methods for creating a logo using letters. Initially, I focused on the circular shape of the letter 'i'. By experimenting with different color combinations, specifically dark green, and yellow-orange, I developed a simple and appealing design that suited my preferences.

Figure 2.17 Creating My Logo

Figure 2.18 Creating My Logo

For my portrait project, I chose to use this particular image. We need to prepare a black-and-white version to allow for additional design elements. I've decided to incorporate the figure's design into my image. Additionally, I plan to add some text to make it more engaging.

Figure 2.19 Designing My Portrait

Figure 2.20 Designing My Portrait

I added the illustration and the text 'Have Fun' to my image. Since my IP resembles a musical instrument, I want to give the image a slightly blurry effect. I quite like the outcome.

Mockup

I initially utilized the platform provided by Mr. Vinod which is Mockey. Afterward, I consolidated all my designs and now await feedback in next week's class.

Figure 2.21 Designing The Mockup Part

Figure 2.22 First Instagram Outcome

After receiving feedback from Mr. Vinod, he mentioned that while the use of a circle shape is quite interesting, the mockup itself is too simple and lacks other engaging elements. Therefore, I need to redesign the mockup section. He didn't comment on the color palette, so I kept it the same while focusing on improving the mockup.

Refine

I started by redesigning my logo because the original was too simple and lacked impact. I'm facing a challenge with this redesign, as incorporating an illustration into the logo is difficult given the complexity of the letters.

Figure 2.23 Redesign My Logo

Figure 2.24 Redesign My Logo

Figure 2.25 Redesign My Logo

I experimented by taking two letters from my name and arranging them randomly. I realized that by turning the double letter 'g' into eyes and adding the letter 'T,' I could create an interesting visual effect. Additionally, when two 'n' letters are combined, they form a unique shape in the middle. I am considering using this shape as my logo.

Guitar Mockup

I discovered the guitar mockup image on Freepik and utilized Adobe Photoshop to create the mockup. Opting to integrate the face logo, I positioned it on the guitar.

Figure 2.26 Guitar Mockup

Figure 2.27 Guitar Mockup

Ticket Mockup

Upon observing the example created by my seniors, I was captivated by the intriguing concert ticket mockup and felt compelled to experiment with it myself. Additionally, I sourced the image from Freepik.

Figure 2.28 Ticket Mockup

Figure 2.29 Ticket Mockup

The original background is a light yellow color, which made reading the text difficult and did not quite match the logo color. Therefore, I changed it to black with white text using the 'Kozuka Gothic Pr6N' font.

Hoodie Mockup

I used my original letter logo to create a mockup of this hoodie. It looks particularly striking when printed on the fabric, which caught the interest of my friends as well.

Figure 2.30 Hoodie Mockup

Finally, my all work has been done. I'm now looking at Instagram page design.

Figure 2.31 Final Outcome

Instagram

Figure 2.32 Final Instagram Pages Design

Final Outcome

Instagram Link: https://www.instagram.com/tings_rhythm_16?igsh=MTBydmhqeHR0cm9wZg%3D%3D&utm_source=qr

Figure 2.33 Final Black wordmark on white background

Figure 2.34 Final White wordmark on Black background

Figure 2.35 Final Color Palette

Figure 2.36 Final Wordmark in Actual Colors on the Lightest Shade of the Color Palette

Figure 2.37 Final Wordmark in The Lightest Shade on The Darkest Shade of the Color Palette

Figure 2.38 Final Wordmark animation

Figure 2.39 Final Collateral #1

Figure 2.40 Final Collateral #2

Figure 2.41 Final Collateral #3

Figure 2.42 Final Instagram Pages Layout

Figure 2.43 Final Works in PDF

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FEEDBACK

Week 5: 

Specific Feedback: I need to do more work to for ask feedback. For the recent one, the square at the letterform 'g' is a bit confusing, you need to refine it.

Week 6:

Specific Feedback: Except for the first and the last outcome there are only two designs are work. The second one is interesting but the letter 'g' is mostly like the letter 'y', you need to fix it. I like there is something sharp like an edge at the letter 'n', it is a cool design. Maybe I can add it to be more in another letterform. For the letter 'n', it looks like a 'm'. The sharp points are important, so I need to figure out that and place it suitable into other letterforms to create value. Lastly, the keyword is not suitable for this design, rebellions are more graffiti on a wall, so I need to rethink it.

Week 7:

Specific Feedback: Your use of the circular of the letter 'i' is quite interesting, but your mock-up is too simple. There are many simple styles of references in the link that I provided, you can find some ideas on it. Since it is too simple and I didn't see anything else, so you must rethink your mock-up.

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REFLECTION

Findings

In this process from the making of a mockup to the development of a brand from my key artwork, I realized how important it is that design had to be cohesive and consistent. It wasn't just about creating an aesthetically pleasing key artwork; it had to be one that would effectively translate into mediums and applications. This would prove scalability and adaptability were really necessary in branding. I also found out that the most successful of these designs were those that had an equal sense of creativity and clarity to ensure the clear delivery of their message. These findings resonated very much with the practical considerations that underpin effective typographic design.

Experience

Posting the final design to my new Instagram changed the project from a theoretical exercise to real brand promotion and identity building. This experience taught me about the need to create much-needed visual appeal and strategic presentation in this competitive environment. All in all, this task has been a comprehensive learning experience, blending creative exploration with practical application and audience interaction and, therefore, reinforcing the basic principles of advanced typography and branding.

Observations

In this task, I was truly surprised about how changing my name became a distinct entity of key artwork. The task opened for me insight into those tiny aspects of typography that will finally take design to make a difference in the way text is perceived. It was enlightening to notice how the slightest changes in spacing, alignment, and style dramatically changed the feel and effect of the artwork visually and emotionally. What's more, it is interesting to see classmates' takes on the brief, thus proving there are so many ways to answer a creative brief, which brings out the great possibilities of typography in expressing individuality and brand character.

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FURTHER READING

Figure 3.1 Vignelli Canon on Design by Massimo Vignelli

This book tries to instill in the young designer an understanding of typography after being driven by the observation that most young designers seem to have no foundational principles. This book will not stifle creativity but give the knowledge which builds on design. The author vividly remembers learning from masters and peers worldwide, each one imparting unique insights that enriched their understanding of typography. This book imparts that same sense of enrichment to the readers.

Semantics

Figure 3.2 Semantics

There are three major facets essential for the yielding of a fruitful design: semantic, syntactic, and pragmatic. Semantics has to do with the meaning of design; therefore, it must be based on preliminary research attuned to the context of the project at hand. This gives the ability to develop meaningful design with a purpose, rather than superficial or obscene results. That is something highly relevant for any designer, especially for young designers, to follow to enhance their work and not contribute to visual pollution.

Syntactics

Figure 3.3 Syntactics

The syntax of design rests on the disciplined application of structure, grids, typefaces, and illustration to provide a cohesive project. Those elements create consistency through proper relations, which enables correct alignment and harmony. Grids are one of the important tools allowing syntactical consistency in graphic design and necessary for a well-constructed and attractive result.

Pragmatics

Figure 3.4 Pragmatics

An effective design should communicate its message clearly to the viewer; if it does not communicate, then all effort is lost. Clear design allows clarity in an end product and is thus an integral part of it. We covet designs that are intellectually elegant, forcefully communicative, and timeless in their expression. It is through these tenets that we can ensure a lasting impact and quality in all our design exploits.

Discipline

Figure 3.5 Discipline

Starting with being a very detail-oriented person, every small thing counts toward the desired result. Quality cannot be compromised and therefore requires continuous, dedicated efforts during the creative process. It is this discipline by the self-imposed rules and parameters that give cohesion and intention to design. Without this discipline, design is fragmented and irresponsible.

Appropriateness

Figure 3.6 Appropriateness

Appropriateness in design refers to finding specific solutions tailored to the problem that guides the choices of media, materials, and expression. Being appropriate therefore means that the solution offered should be effective, and clients have satisfaction with the work done and transcends style by dealing with the real nature of design. During the post-modernism period, appropriateness also entailed the creative transformation of the elements borrowed into practice within new contexts.

Ambiguity

Figure 3.7 Ambiguity

Ambiguity is something positive, enriching design with several meanings. This might make the expression of a design a little better but tread carefully since it could turn to the worse. Care should be exercised because overuse may lead to contradictions and loss of control.