Advanced Typography: Task 2 Key Artwork & Collateral
Advanced Typography / Task 2 Key Artwork and Collateral
16/10/24---------13/11/24 (Week 04 — Week 08)
LIU CHENG RUI/ 0370930
GCD 61004 / Advanced Typography / Bachelor of Design (Hons) in Creative Media / Taylor's University
Task 2 A & B / Key Artwork and Collateral
TABLE OF CONTENT
LECTURES
INSTRUCTIONS
TASK 2
PART A – Key Artwork
PART B – Collateral
TASK 2 OUTCOME COMPILATION
FEEDBACK
REFLECTION
FURTHER READINGS
LECTURES
Week5
AdTypo_5_PerceptionAndOrganisation
A method of creating contrast in typography
Size comparison is the most intuitive method of comparison. By
setting text or graphic elements to different sizes, you can emphasize
the importance of an element and make it more visually
prominent.
Weight Contrast
Size Contrast
Weight Contrast
Contrast usually refers to the difference in stroke weight of a font.
Bold letters are more prominent and powerful, while thin letters are
light and elegant. By mixing fonts of different thicknesses in
typography, you can create layers and visual rhythms.
Weight Contrast
Form Contrast
Formal contrast refers to the geometric differences in typefaces. For example,
the contrast between uppercase and lowercase letters, body font and italics,
etc., can be used to enhance visual hierarchy.
Form Contrast
Structure ContrastStructural contrast refers to the contrast between different font structures. For example, the combination of serif and sans-serif typefaces, or the contrast between handwritten and mechanical typefaces.
Structure Contrast
Texture Contrast
Spatial contrast (sometimes called texture contrast) involves word spacing,
line spacing, white space between paragraphs, and so on. By controlling the
spatial relationships between different elements, different visual rhythms and
typographic styles can be created.
Texture Contrast
Direction ContrastDirectional contrast draws attention to changes in the direction of text or graphic elements. For example, the contrast of horizontal and vertical directions, or by tilting, rotating and other ways to break the traditional horizontal typesetting, resulting in a strong visual appeal.
Direction Contrast
Color Contrast
Color contrast enhances the visual effect by changing colors. It can be a
contrast between the font colors, or a contrast between the font and the
background color. The contrast of colors can make a particular text more
prominent and eye-catching.
Color Contrast
Gestalt Principles
Here are some breakdown rules：
Law of Similarity:
The principle of similarity states that people group together
elements that have the same or similar characteristics.
Law of Similarity
Law of Proximity:
The principle of proximity states that people tend to see elements
that are close to each other as a whole.
Law of Proximity
Law of Closure:
The principle of closure refers to the tendency of people to fill in
incomplete shapes or images, even if the edges of certain elements are
not clearly shown.
Law of Continuation:
The principle of continuity refers to the tendency of people to
perceive elements along a path or consistent line.
Law of Symmetry and Praganz:
The principle of symmetry states that people tend to treat
symmetrical elements as a unified whole.
Law of Symmetry and Praganz
INSTRUCTIONS
Task 2 (A) – Key Artwork
To start off, we were instructed to create a mindmap about us. Here is
a brief mindmap about me:
Mindmap 'About Me', week4（16/10/2024）
In addition, I also design my mod-board according to my personal
preferences and preferred style. I prefer a lively and vivid feeling,
because it will give people a more direct and profound impression.
Moodboard, week4（16/10/2024）
Sketches
Sketches1, wee4(19/10/2024)
Sketches2, wee4(19/10/2024)
Based on Mr.vinod's feedback, I made adjustments to my sketches and went
through the process of digitizing them.
Digital modification
Mr. Vinod acknowledged my digitization work in the last lecture,
and Mr. Vinod thought that the bottom right corner of my letter R
was a bit thick and suggested that I lighten it up a bit.
After that, I picked the color palette and used it for the rest
of my work.
White wordmark on black background
,week6(30/10/2024)
,week6(30/10/2024)
Wordmark in lightest shade of colour palette on darkest shade of
colour palette
,week6(30/10/2024)
Wordmark animation
In the process of making text animation, I chose to use AE as the
production software. In order to make my animation more vivid, I
consulted a lot of materials and found some references to make my
animation.
Division of the letter C, week8(11/11/2024)
Division of the letter H , week8(11/11/2024)
Division of the letter R, week8(11/11/2024)
Division of the letter U, week8(11/11/2024)
Division of the letter I, week8(11/11/2024)
Then edit the motion trajectories of the upper and lower parts of
the text separately to match my animation.
The movement of the upper part of the text, week8(11/11/2024)
The movement of the part under the text, week8(11/11/2024)
After completing the division of the motion of various parts of the
text, I tried to add effects to enrich the animation. The effects are as
follows:
Effect: Blinds
Effect: Waveform distortion
Effect: Fade in and out of control
Effect: Glow
Effect: Solid layer synthesis
Effect: Slider control
Effect: Angle control
Effect: Fast box blur
Effect: Tone
Finally, the previous dynamic and effect are combined to get the final
animation.
Make an animated page, week8(11/11/2024)
The first animation, week8(11/11/2024)
In the ninth week of the course, Sir Suggested that I modify my GIF, try to only design the logo, instead of adding some other dynamic.
The revised final GIF
Final Task 2(A) Key Artwork
White wordmark on black background
,week6(30/10/2024)
,week6(30/10/2024)
Wordmark in lightest shade of colour palette on darkest
shade of colour palette
,week6(30/10/2024)
Task2 (A) Final PDF,week8(12/11/2024)
Task 2 (B) – Collateral
Collateral 1:Cloth bag
The process of creating collateral 1, week7(03/11/2024)
For the collateral design of the cloth bag, I first processed the
original picture in black and white color, then added Gaussian blur
filter, and then replaced my text design with the processed picture,
so that the text was pasted on the cloth bag.
Increased Gaussian blur, week7(03/11/2024)
Distortion -- replacement, week7(03/11/2024)
In addition, I also changed the mixing options of the text, such as
appropriately enhancing the light and shadow, and finally got the
cloth bag collateral
Collateral 1 - Cloth bag , week7(03/11/2024)
Collateral 2:Cotton-padded clothes
The process of creating collateral 2, week7(03/11/2024)
Different from Pledge 1, I enhanced the projection of Pledge 2 and applied texture to the text on the cotton jacket, making the text look more like a fuzzy feeling.
Add texture to text, week7(03/11/2024)
It is worth mentioning that after placing the text on the cotton jacket,
I chose to apply the effect multiply layer, so that it looks more suitable
for the cotton jacket.
Multiply, week7(03/11/2024)
Collateral 2:Cotton-padded clothes, week7(03/11/2024)
Collateral 3:Hat
The process of creating collateral 3, week7(03/11/2024)
For collateral 3, I chose to intercept the letters C and R in the CHRUI text design.
Subsequently, I modified the mixing options of the words C
and R to add a sense of wear and tear, as shown below.
Increased wear effect, week7(03/11/2024)
The remaining portion is the same as the first two collateral, (increase the multiply effect, etc.).
Collateral 3:Hat, week7(03/11/2024)
Instagram account and links:Instagram
IG screen capture,week7(08/11/2024)
Final Task 2(B) Collateral
Collateral 1 - Cloth bag , week7(03/11/2024)
Collateral 2:Cotton-padded clothes, week7(03/11/2024)
Collateral 3:Hat,
week7(03/11/2024)
IG screen capture,week7(08/11/2024)
Instagram account and links:Instagram
Task2 (B) Final PDF,week8(12/11/2024)
Final Task 2: Key Artwork and Collateral
Revised digital key artwork, week5(23/10/2024)
color palette,week6(30/10/2024)
White wordmark on black background,week6(30/10/2024)
Wordmark in actual colours on lightest shade of colour palette,week6(30/10/2024)
Wordmark in lightest shade of colour palette on darkest shade of colour palette,week6(30/10/2024)
Final animation, week8(11/11/2024)
Revised digital key artwork, week5(23/10/2024)
White wordmark on black background
,week6(30/10/2024)
,week6(30/10/2024)
Wordmark in lightest shade of colour palette on darkest shade of colour palette
,week6(30/10/2024)
Final animation, week8(11/11/2024)
Collateral 1 - Cloth bag , week7(03/11/2024)
Collateral 2:Cotton-padded clothes, week7(03/11/2024)
Collateral 3:Hat, week7(03/11/2024)
FEEDBACK
Week5
General feedback:
Mr.vinod affirmed my homework, and thought that one of the works was
very interesting, and it would be better if the relevant keywords were
modified, because it was more consistent with my work. In addition,
Mr.vinod also suggested that I could choose one of the two to complete
this week's task.
Specific feedback:
Revise the key words of some works to be more appropriate (e.g.
tenacious---->persistence).
Week6
General feedback:
Mr. Vinod helped us identify the digitization of key artworks
and made a series of follow-up requests, as follows
· Black wordmark on white background
· White wordmark on black background
· Colour palette
· Wordmark in actual colours on lightest shade of colour palette
· Wordmark in lightest shade of colour palette on darkest shade
of colour palette
And asked us to check the color selection for him in class.
Specific feedback:
Mr. Vinod acknowledged my digitization work in the last lecture, and
Mr. Vinod thought that the bottom right corner of my letter R was a
bit thick and suggested that I lighten it up a bit. Regarding the
color palette, Mr. Vinod suggested that my actual text color could be
changed from light blue to dark blue.
Week7
General feedback:
Mr.vinod expressed interest in the characteristic text design in
my homework, but it was still not very satisfactory. Later,
Mr.vinod showed me his operation and suggested me to correct it
according to his method. After class, I inquired about the
incomprehendiments in the class. Mr.vinod replied that he could
compare it with the work he posted in the link to Chapter 6, so
that I might have some inspiration.
Specific feedback:
1.suggest you analyse the links I provided in my TEAMS instructions
for Week 6 and then compare what you see in the work there
(Pentagram) to your own work. By doing this you might find areas
that you can improve.
Week8
（There are no classes scheduled for Independent Study
Week.)
REFLECTION
Experiences
In this task, the most profound experience I learned is that Mr.Vinod
told me to observe more. Because this task is different from previous
tasks, we need to find characteristics from other people's excellent
works and apply them. For example, when I was designing collateral, I
always had no idea, so I tried to find inspiration from the links sent
by Mr.Vinod and correct my homework.
In addition, Mr.Vinod once said that collateral should be closer to
people's ordinary life, which has inspired me a lot, because the
essence of product design is to provide better service and convenience
to people, and it should not be separated from too far or too
high.
Observations
In this task, I learned to observe some excellent design works in
depth and compare and modify my work through observation. Among them,
my collateral was modified by this method. In addition, I also
observed that in the process of text design, the thickness and height
of each letter are strictly required, because this affects the overall
beauty of the final result. For example, the lower right side of the
letter R in my work was too thick, so my first result looked very
awkward, which inspired me to pay more attention to observation in the
design process in the future. Find the nuances.
Findings
In the process of carrying out this task, I found that the original
design method of text is not far away from us, because in the initial
period of designing text, I accidentally saw a complete paper and the
other half of the incomplete paper, which were two pieces of paper on
the left and right side of a book, which inspired me to separate the
design of an entire text. One part is complete, the other part is
incomplete. I understand from this, in fact, the so-called inspiration
of design is just a moment of discovery in life.
FURTHER READINGS
About introduction
Vignelli on Design is divided into the following chapters:
Philosophy of design
Design and function
Visual language
Color and typography
Cross-domain design
Classic case study
Designer's responsibility
Business and Design
The future of design
Week5 Cross-domain design
In this chapter, Vignelli, through his extensive design experience,
clearly demonstrates that design should not be confined to a particular
field or medium. What inspired me most about the interdisciplinary
design concept he presented was that design is a way to solve problems,
rather than being limited to specific forms or materials. Vignelli's
design philosophy focuses on minimalism, but his work is full of
creativity and uniqueness, which shows us that limits can stimulate
innovation.
This chapter gave me a deep understanding of how Vignelli proved the
universality and commonality of design principles through cross-domain
design practice. Design is not only the exploration of form, but also
the balance control of function and aesthetics.
Week6 Classic Case Study
The sixth chapter "Classic Case Study" brings together Massimo
Vignelli's practical analysis of some classic cases in the field of
design. In this chapter, Vignelli deconstructs his iconic design
projects in detail, such as the New York City subway map and
Bloomingdale's shopping bags.
After reading this chapter, I realized that Vignelli firmly believed
that design should not only satisfy commercial needs, but also have
artistic value. Each of his design decisions is seen as a practice of
his "timeless design" philosophy, requiring designs to stand the test
of time. This focus on permanence is particularly inspiring for
contemporary designers, encouraging us to focus on simplicity and
long-lasting values while pursuing innovation.
Week7 Designer's responsibility
In Chapter 7 of Vignelli on Design, "The Responsibility of the
Designer," Vignelli discusses the moral responsibility of the
designer. He pointed out that designers should not only be
aesthetic creators, but also have a positive impact on society. He
stressed that design should have lasting value, rather than
following short-term trends, which can lead to waste of resources.
Vignelli encourages designers to value simple, timeless design
principles, avoid grandiosity and redundancy, and strive to create
high-quality visual and functional experiences for society and
enhance people's quality of life.
At the heart of this chapter is the social responsibility of
designers, which requires them to consider the utility, cultural
significance, and environmental impact of their work while
creating visual effects.
Week8 Business and Design
In Chapter 8 of Vignelli on Design, "Business and Design," Vignelli
explores the relationship between design and business. He believes
that design is not only an artistic expression, but also a key
factor for commercial success. Designers need to understand the
needs of their clients and translate them into marketable work.
Vignelli stressed that designers must balance aesthetics with
functionality, while also considering cost effectiveness, ensuring
that the design is both innovative and meets the real needs of the
market. The combination of business and design is fundamental to
driving successful projects.
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